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SACRED BONES

Children's Hospital

Alone & Together

    "Alone & Together" is the debut release from Children's Hospital. If their despondent sounds remind you of something you may have once heard its because this is the latest project from the A-Frames/Intelligence/Rodent Plague/afcgt axis. Reminiscent of the brooding and gray skyline of their hometown of Seattle the duo hover between abstract soundscape compositions, Jandek inspired bouts of melancholy droned out dementia, and stripped apart abrasive punk... often combining several of these forms at once. If recent Rodent Plague releases on Killshaman and Jerkave Tapes are any indication it would be ill-advised to sleep on Children's Hospital.

    The Rebel

    Northern Rocks Bears Weird Vegetable

      Sacred Bones Records presents "Northern Rocks Bear Weird Vegetable" — the next full-length from London, England's The Rebel. The alter ego of Country Teasers' Ben Wallers, The Rebel dates back to the tail-end of the 80s — having existed side-by-side throughout the Teasers' prolific career—often releasing records at a steadier clip than Waller's main project with songs too madcap to fit into even their William-Burroughs-by-way-of-The-Residents take on country music. Wallers' characteristic self-aware irony and surreal gender/race ruminations are still present but sitting backseat in this more fleshed out concept album about decaying conditions on the planet earth. Although Burroughs comparisons are inevitable, "Northern Rocks Bear Weird Vegetable" could only have been scripted by The Rebel. The album's narrator is in a band, has a valet named Mulholland, but inhabits an otherwise unrecognizable dystopian landscape where evil science laboratories combat college radio personalities, and nuclear war with Iran is well underway. Important issues of today and tomorrow are touched on. In "Why Must I Pay?" Mr. Thatcher, a future Prime Minister, is excoriated for the rising costs of tea, rent, drugs and sex. In "Scarlett Johansen Conceiving the Design" we are shown a horrific world in which starlets replace scientists as consumerdom's inventors. In "You're Just Like Tammy Wynette" the Radical Islam Problem is diagnosed by looking at the politics of ladies headgear, while in "Turtle v. Octopus" a battle between Lovecraftian ancient adversaries plays out, potentially affecting the future of Music itself. This is the first Rebel album to be recorded in the studio with a live backing band...that band being Country Teasers. In terms of sound, "Northern Rocks Bears Weird Vegetable" exchanges The Rebel's clautrophobic home studio layers and diy effects for the improvisational band chemistry and controlled looseness of Country Teasers' infamous live act.

      Institute

      Salt EP

        Sacred Bones has long been closely linked with tight-knit regional punk scenes, with roster artists representing everything from the icy precision of Copenhagen (Vår, Lust for Youth) to the acid-fried psych vibes of Tempe, Arizona, (Destruction Unit) to the grimy lawlessness of New York City (The Men, Pop. 1280, Anasazi). Institute stands at the center of another thriving scene in Austin, Texas, and we’re proud to be releasing their Salt EP.

        Formed in Austin in March 2013, Institute includes members of Wiccans, Glue, Blotter, Recide and more. Before they were even a proper band, singer Moses Brown had a couple of raw post-punk songs sitting on a four-track at his house. Once the lineup solidified, the band touched up one of those songs (“Dead Sea”) for a demo, then quickly wrote enough material to flesh out that demo (re-released on Deranged), a seven-inch (on Katorga Works), and now their debut EP for Sacred Bones.

        We fell in love with this band as soon as we heard those early demos, and then saw a blistering set from them in their hometown earlier this year. The Salt EP is as sharp as the band’s earlier work but suggests longer, more experimental forms (“An Absence”) and a more incisive lyrical perspective, dealing with topics from existentialism to Brown’s experience as a closeted youth. Institute have already toured with their new labelmates in Destruction Unit , and we’re stoked to officially welcome these young men into our family.


        The Men

        Drift

          Drift is the seventh full-length by NYC rock polymaths The Men. The band’s last album, the self-released Devil Music, was the sound of a band who had been through hell hitting reset and looking to their roots to rediscover themselves. On Drift, The Men return to their longtime label Sacred Bones Records and explore the openness that Devil Music helped them find.

          The immediately evident result of that exploration is the experimental quality of much of the material on Drift. Songwriters Mark Perro and Nick Chiericozzi chase their muses down a few dozen thrilling rabbit-holes over the course of the album’s nine tracks. The songs on Drift veer in a number of directions, but notably, almost none of them feature a prominent electric guitar. The lone exception, “Killed Someone,” is a rowdy riff-rocker, worthy of the finest moments of the band’s now-classic Leave Home and Open Your Heart albums. The rest of the album drives down stranger highways. “Secret Light” is an improvisation based on an old piano riff of Perro’s. “Maybe I’m Crazy” is a synth-driven dancefloor stomper for long after last call. “Rose on Top of the World” and “When I Held You in My Arms” are paisley-hued, psyched-out jams with big, beating hearts.

          The album was recorded to 2" tape with Travis Harrison (Guided by Voices) at Serious Business Studios in Brooklyn. A whole pile of instruments was involved — synths, strings, sax, steel, harmonica, tape loops, on top of the usual guitar, bass, and drums. Unlike recent releases from The Men, there aren’t many overdubs on Drift — a reflection of the personalities of its makers becoming less frantic, Chiericozzi suggests. In fact, the band removed a lot of the additional parts they tried adding early on, giving the final product a bit of a ghostly feel. The songs on Drift took giant leaps and trips from their beginnings only to find the band returning to the first spark of creation.

          FORMAT INFORMATION

          Coloured LP Info: “Deep Drift” colour vinyl.

          Criminal’ is a confessional work. Through the stark lens of shame and guilt that has followed Luis Vasquez since a violent childhood growing up within the humming ambient sprawl of 80s Mojave Desert, here he documents the gut-wrenching sound of going to war with himself. Battling with his own sanity, self-hatred, insecurity, self-entitlement and grappling with the risk of these things transforming him into a person he despises, Vasquez has laid his feelings bare with this: his confession and most self-reflective work to date.

          “Guilt is my biggest demon and has been following me since childhood. Everything I do strengthens the narrative that I am guilty” Vasquez reflects. “The concept of ‘Criminal’ is a desperate attempt to find relief by both confessing to my wrongdoings and by blaming others for their wrongdoings that have affected me.”

          ‘Criminal’ marks a striking and important chapter in his self-exploration, both artistically and emotionally. As a young musician living in Oakland, Vasquez began to try and process the narrative of his difficult upbringing veiled through musical exploration. Taking krautrock's motorik beats and Post-Punk deconstructions and honing them into a hushed percussive incantation, The Soft Moon's self-titled debut album took shape. The album was released in late 2010 by Captured Tracks and was praised by critics and emulated by contemporaries.

          In 2012 the apocalyptic conceptual work of 'Zeros' emerged, shortly followed by Vasquez moving to Venice, Italy in 2013, acting as a catalyst for 2014’s release, ‘Deeper’. While previous albums were primarily instrumental records, where Vasquez’s voice was diffused amidst the music as another instrument, ‘Deeper’ marked the beginning of a new musical direction where vocals and lyrics became something more than a mere presence. ‘Deeper’ was a descent into the womb of childhood trauma, anxiety and fear, and although Vasquez survived this dark exploration of himself, he did not return alone.

          Working once more with Maurizio Baggio, who produced ‘Deeper’, at La Distilleria in Bassano Del Grappa, Italy, ‘Criminal’ sees Vasquez further explore putting his lyrics at the forefront and letting his raw emotions flow. The album is Vasquez's way of holding himself accountable and seeking redemption for the abuse he inflicts on himself and others, and acknowledges roots in the abuse which, inflicted upon him as a child, broke him.

          STAFF COMMENTS

          Barry says: Thudding drum machines, screaming distorted guitars and barely-there vocal abstractions fed through a wall of effects. It's a delicate but perfectly achieved bout of melodic suggestions and visceral, white-hot emotion.

          FORMAT INFORMATION

          Coloured LP Info: Limited edition clear vinyl.

          Moon Duo

          Jukebox Babe / No Fun

            Following the resounding success of their two-volume, Yin-and-Yang song cycle Occult Architecture, the Portland psych heroes in Moon Duo return with a limited edition 12" paying tribute to two of their musical heroes — Iggy Pop and Alan Vega. Moon Duo’s versions of these classic songs push them into bold new sonic territory, and show that Ripley Johnson and Sanae Yamada’s expansive musical imaginations are still firing on all cylinders.

            “We started playing ‘No Fun’ after BBC6 Radio asked us to record an Iggy song for his 70th birthday. We added it to our set to work it out for the session and kept playing it every night because everyone loves that song. We worked up a version of ‘Jukebox Babe’ because our sound engineer Larry got it stuck in his head and was singing it all the time. We figured, we may as well play it if we’re going to hear it all the time.

            The Stooges and Iggy, and Suicide/Alan Vega/Martin Rev, are all huge influences on us. But we never want to do faithful covers of great songs, because what’s the point? So we tried to push both of the tracks in less obvious directions, incorporating other influences, like California psych and cosmic disco, giving them more of a summer vibe. We knew Sonic Boom was working outside of Lisbon, so we asked him to produce the tracks, recording them in August for maximal summer heat.”

            FORMAT INFORMATION

            Ltd 12" Info: White vinyl edition.

            12" Info: Black vinyl edition.

            Trouble

            Snake Eyes (Repress)

              Written and recorded for the highly anticipated return of David Lynch’s cult television classic Twin Peaks, “Snake Eyes” effectively harkens a time when noir R&B was the de-facto soundtrack to hard liquor violence. The instrumental trio Trouble includes Lynch’s son Riley Lynch on guitar, longtime music supervisor for Lynch, Dean Hurley on drums and Alex Zhang Hungtai (Dirty Beaches, Last Lizard) on tenor saxophone. The B-side to the single consists of the bonus “Mother’s Gone;” a menacing companion track also recorded during the band’s only Twin Peaks recording session. There may never be any more music from Trouble, but this 45 serves as physical evidence of the group’s continued existence in a parallel cinematic universe, grinding out late night Roadhouse gigs in the fictitious town of Twin Peaks, Washington.

              FORMAT INFORMATION

              Ltd 7" Info: Limited edition re-press.

              Exploded View

              Summer Came Early

                After finishing the songs that became their self-titled debut LP for Sacred Bones, Exploded View decided to go back into the studio and record some more. Mixed in with some of the outtakes of the first record, such as “Mirror of the Madman,” the songs on Summer Came Early signal a step forward for the band, revealing more clarity and focus than the first, yet retaining a certain messy experimentalism that gives them the freedom they crave.

                The psychotic tale of “Mirror of the Madman” shatters into to the softness of “Summer Came Early,” an epitaph to the environment, written in a post-warming future. “Forever Free” captures a “baroque” approach, with a curious combination of sounds: the fake harpsichord synth sound and the mellotron, plus the “bleeping sound” sequence caused by Hugo Quezada’s personal obsession with Raymond Scott. The track is a tale of mental entrapment and finding the key to freedom from within. The final song, “You Got A Problem Son,” almost went undiscovered. It could have easily been buried and forgotten eternally, had it not been found by Quezada and Martin Thulin while listening through the 8-track tapes for something else. The lead sound was made with a four-oscillator synth, with the four oscillators slightly out of tune with one another; a nice metaphor for the band perhaps, ending the trip with a disjointed rush; a mod-tale, begging for repeated listening.

                John Carpenter is a legend. As the director and composer behind dozens of classic movies, Carpenter has established a reputation as one of the greatest filmmakers in the history of modern cinema, as well as one of its most influential musicians. The minimal, synthesizer-driven themes to films like Halloween, Escape From New York, and Assault on Precinct 13 are as indelible as their images, and their timelessness was evident as Carpenter performed them live in a string of internationally sold-out concert dates in 2016. Anthology: Movie Themes 1974-1998 collects 13 classic themes from Carpenter’s illustrious career together on one volume for the first time. Each theme has been newly recorded with the same collaborators that Carpenter worked with on his hit Lost Themes studio albums: his son, Cody Carpenter, and godson, Daniel Davies.

                Anthology is a near-comprehensive survey of John Carpenter’s greatest themes, from his very first movie, the no-budget sci-fi film Dark Star, to 1998’s supernatu¬ral Western, Vampires. Those sit alongside the driving, Led Zeppelin-influenced Assault on Precinct 13 theme, Halloween’s iconic 5/4 piano riff, and the eerie synth work of The Fog. Carpenter and his band also cover Ennio Morricone’s bleak, minimalist theme for The Thing.

                We also get vital new recordings of the themes to ’80s classics and fan favorites Big Trouble in Little China, Escape From New York, Christine, and They Live, along with the romantic Starman, which earned Jeff Bridges his first Oscar nomination as a lead actor. The collection is rounded out by the menacing, heavy themes to Prince of Darkness and In the Mouth of Madness, the latter a Metallica-inspired riff originally played for the film by Kinks guitarist Dave Davies, and now played by his son Daniel.



                STAFF COMMENTS

                Barry says: I don't think many people could argue that John Carpenter isn't one of the most respected and prolific figures in soundtrackery, and this should prove it. Some of the most recognisable themes in all the land. Awesome.

                FORMAT INFORMATION

                LP includes MP3 Download Code.

                For over a decade, Nika Roza Danilova has been recording music as Zola Jesus. She’s been on Sacred Bones Records for most of that time, and Okovi marks her reunion with the label.

                Fittingly, the 11 electronics-driven songs on Okovi share musical DNA with her early work on Sacred Bones. The music was written in pure catharsis, and as a result, the sonics are heavy, dark, and exploratory. In addition to the contributions of Danilova’s longtime live bandmate Alex DeGroot, producer/musician WIFE, cellist/noise-maker Shannon Kennedy from Pedestrian Deposit, and percussionist Ted Byrnes all helped build Okovi’s textural universe.

                With Okovi, Zola Jesus has crafted a profound meditation on loss and reconciliation that stands tall alongside the major works of its genre. The album peaks of tragedy with great wisdom and clarity. Its songs plumb dark depths, but they reflect light as well.

                ARTIST STATEMENT:

                Last year, I moved back to the woods in Wisconsin where I was raised. I built a little house just steps away from where my dilapidated childhood tree fort is slowly recombining into earth. Okovi was fed by this return to roots and several very personal traumas.

                While writing Okovi, I endured people very close to me trying to die, and others trying desperately not to. Meanwhile, I was fighting through a haze so thick I wasn’t sure I’d find my way to the other side. Death, in all of its masks, has been encircling everyone I love, and with it the questions of legacy, worth, and will.

                Okovi is a Slavic word for shackles. We’re all shackled to something—to life, to death, to bodies, to minds, to illness, to people, to birthright, to duty. Each of us born with a unique debt, and we have until we die to pay it back. Without this cost, what gives us the right to live? And moreover, what gives us the right to die? Are we really even free to choose?

                This album is a deeply personal snapshot of loss, reconciliation, and a sympathy for the chains that keep us all grounded to the unforgiving laws of nature. To bring it to life, I decided to enlist the help of Alex DeGroot, who has been the only constant in my live band and helped mix the Stridulum EP back in 2010. It will be released on Sacred Bones, the closest group of people I’ll ever have to blood-bound family.

                FORMAT INFORMATION

                Coloured LP Info: Rust coloured vinyl.

                LP Info: Black vinyl edition.

                “Seven yers ago, it was winter break at university in Madison, Wisconsin. There was a snowstorm that covered the city with a still white haze. Not a single person in the streets. I was sitting on my bed with a cheap keyboard and a computer, screaming into the void. I barely remember writing the songs. It was a chaotic point in my life. I had no time to think about process or intent. It was a purge. I do remember taking a break from recording, bundling up, and walking through the barren streets while listening to the demos I’d made. The world, at once, felt clear. After writing and producing what would become the Stridulum EP, I contacted a new friend, Alex DeGroot, to come over and record my vocals. He was studying audio engineering and had more knowledge and gear than I could dream of. He helped mix Stridulum, too, because all I had was a pair of headphones. (Since then, Alex has stuck by me, as a live bandmate, technical director, co-producer, mixer, and engineer.) These songs were a huge leap of faith back then. It was my first time singing without layers of distortion, echo, and reverb. It was the first time I peeled back the layers to find out what was at the core. I’m still on that path today, seeing how far I can push myself into unknown places, whether through clarification or destruction. It’s like Stridulum’s still here with me, underneath it all. Still, it’s surreal to think that this record, made by a 19-year-old girl sitting on a bed in a freezing old house in Madison, would make its way into strangers’ ears seven years later.”

                -Nika Roza Danilova, June 2017

                Collects the early Zola Jesus EPs Stridulum and Valusia in a single volume for the first time.


                Shortly before Christmas 1984, the core songwriters, Genesis P-Orridge and Alex Fergusson, of underground arts collective Psychic TV quietly released a limited edition record containing sketches and ideas for songs. Some songs would become later fully-realized arrangements, some abandoned and others were just covered in praise of their creator. The record, in recognition of its seasonal release, was simply titled A Pagan Day, and would capture the intimate songwriting sessions that were prevalent during crucial time in the band’s career.

                In classic Psychic TV fashion, rumors and myths surround the album’s creation. Most have suggested that it was recorded in a single session over a cup of coffee on a lone 4-track cassette recorder above an old YMCA building in London, though later revealed that the recordings were from various sessions over the course of a couple years prior to the record’s release. After quickly pressing the songs to vinyl, the record was originally only available through Rough Trade for a few hours on December 23, 1984 and pressed on picture discs, which adorned a photo of P-Orridge’s first born, Caresse, in exactly 999 copies. The pressing sold out immediately that day which caused Temple Records, their “in-house label”, to later release a standard reissue version in 1986.

                What makes the songs, or rather versions of songs, so unique is the primitive and fragile nature of the arrangements while the flimsy, immediate vocal delivery makes the album sit unknowingly between demo and fully realized album. “Baby’s Gone Away” and “New Sexuality” are just a couple examples of songs that fans of Psychic TV became intimately familiar with from live experiences, but on A Pagan Day, they are released in their infantile stages with no full band, just Alex & Genesis finding their way through the songs with an acoustic guitar, drum machine and organ. “Cold Steel” shows a true peek behind the curtain, sung effortlessly by Fergusson and would then later become the classic standard “The Orchids.” Most notable is the band’s cover of Pearls Before Swine’s “Translucent Carriages” of which P-Orridge accords special praise to Tom Rapp, the song’s original author and icon to both P-Orridge and Fergusson

                “Contradictions embraced: Although SQÜRL’s music is anti-mathematic, SQÜRL loves mathematics. We love the Fibonacci numbers. And magic numbers. Perfect numbers. Bell numbers. Catalan numbers. 260 is none of these. It isn’t a perfect number, and not factional of any number. It’s not even a regular number. 260, though, is the number of days in all Mesoamerican calendars. The Mayan calendar. The Tolkien calendar. 260 is also the number of days of human gestation. (Orangutans also). 260 also has an elliptical connection to the dark rift; a series of molecular dust clouds located between our solar system and the Sagittarius Arm of the Milky Way. And although not a magic number, 260 is the magic constant of the magic square investigated by Benjamin Franklin, and part of the solution to a famous chess problem; the n-queens problem for n=8. 260 is also the country code for Zambia. And the US area code for Fort Wayne, Indiana. Therefore, SQÜRL has labeled this recording EP #260.” -Jim Jarmusch, March 1, 2017

                SQÜRL is: Jim Jarmusch, Carter Logan and Shane Stoneback.

                An enthusiastically marginal rock band from New York City who like big drums & distorted guitars, cassette recorders, loops, feedback, sad country songs, molten stoner core, chopped & screwed hip-hop, and imaginary movie scores.

                SQÜRL began in 2009 when Jim Jarmusch and Carter Logan teamed with producer Shane Stoneback to record some original music for the film The Limits of Control. Echoing the varied Spanish landscapes captured in the film, the three emerged with a set of slow-motion psychedelic rock instrumentals (releasing them as Bad Rabbit). Following these scoring sessions Jim, Shane, and Carter continued to record new originals while also exploring the back-alleys of American country, noise, and psychedelia. SQÜRL released a series of 3 EPs, recorded over a 3 year period by Shane at Treefort Recording in Brooklyn, NY. Jarmusch and Logan’s collaboration continued as a duo with SQÜRL’s acclaimed score for Paterson, and a trio with Stoneback for EP #260

                Beginning in 1982, the conceptual audiovisual troupe labeled Psychic TV set out on a multimedia journey filled with subversion, liberation, and rebellion. Materialized between Throbbing Gristle co-founder Genesis P-Orridge and Alternative TV songwriter Alex Fergusson, Psychic TV started pulling in familiar faces with the likes of Peter “Sleazy” Christopherson, Paula P-Orridge, Jhonn Balance, David Tibet, John Gosling and countless others. While the members’ previous works took root in the counterculture zeitgeist of late ’70s UK punk and conceptual art, it was no longer a question of how to rebel against authority, but rather how to carefully subvert it through collective infiltration. Parallel to Psychic TV, its members formed the anti-cult faction The Temple of Psychick Youth, further propagating the Psychic TV message and vision.

                While the ensuing years saw Psychic TV’s major label infection and record breaking live album release binge, it wasn’t until 1988 that the band started to ready itself for a chart-friendly pop endeavor in the form of Allegory and Self. This would be the band’s most notable and successful endeavor, but tragically, it would be the final songwriting collaboration between P-Orridge and Fergusson. Allegory and Self was a perfect storm of catchy pop melody along with subversive counter-culture reference and occult leanings, packaged in a perfect bundle of underground hits.

                The record’s opening track “Godstar,” a song gushing obsessive praise upon the fallen Rolling Stones member Brian Jones, would give the album its most notable identity. “Godstar’s” melodic hooks and haunting, Phil Spector-era lyrical chant gives into to all the hallmarks of a chart-topping hit. “Just Like Arcadia” and “Being Lost” follows in similar footsteps, charging along with a somewhat whimsical Beach Boys-esque pop quality. The album also contained a sneak-peak into what direction Psychic TV was heading into going forward, apparent in the acid house number “She Was Surprised.” Tracks like “Starlit Mire” and “Thee Dweller” reflect more of what the Psychic TV live experience was akin to in the ’80s, aggressive and hypnotic. All together, Allegory and Self would stand alone as the band’s signature apex from the original ’80s line-up.

                FORMAT INFORMATION

                Coloured LP Info: Limited edition white vinyl.

                Institute

                Subordination

                  Since their first demo in 2013, the Austin expats in Institute have edged their raw anarcho punk blitz into something much more expansive and nuanced. 2014’s Salt EP marked the beginning of the band’s working relationship with Sacred Bones, and it explored longer, more experimental song forms. Catharsis, the band’s debut full-length, was another huge push forward, with a slightly cleaner production and some Krautrock influence creeping in around the edges. Subordination sees them push themselves further out of genre, incorporating hard rock and glam and writing some of the most diverse material of their career.

                  Subordination was written in the days leading up to Institute’s first European tour, where they then had a chance to sculpt the songs live before recording them in summer of 2016. The song writing and recording process sought to close the gap between the band’s records and shows, to make an album as representative of their live set as possible. It was the most collaborative Institute writing session to date, with all four band members contributing (gtr -Arak Avakian, drums - Barry Elkanick, bass- Adam Cahoon & vox - Moses Brown). They worked again with producer Ben Greenberg (Uniform) and fully captured the intensity that has made them one of the best live punk bands touring today.

                  Frontman Moses Brown’s lyrics remain deeply personal, but rather than diving into introspection and plucking out intimate details about his life, he attempts to dismantle systems of patriarchal thought and power. Brown investigates national insecurities and American socialization failures through the lens of his personal experiences in both public school and art schools.

                  The songs on Subordination address the lonely sham of playing by the rules, the search for money and power, the annihilation of a true personality, and the stan¬dards of normalcy that from childhood conditions us to feel abject.

                  FORMAT INFORMATION

                  Coloured LP Info: Indies exclusive coloured vinyl.

                  Moon Duo

                  Occult Architecture Vol.2

                  Meaning all things magick and supernatural, the root of the word occult is that which is hidden, concealed, beyond the limits of our minds. If this is occult, then the Occult Architecture of Moon Duo’s fourth album - a psychedelic opus in two separate volumes released in 2017 is an intricately woven hymn to the invisible structures found in the cycle of seasons and the journey of day into night, dark into light.

                  Offering a cosmic glimpse into the hidden patterning embedded in everything, Occult Architecture reflects the harmonious duality of these light and dark energies through the Chinese theory of Yin and Yang.

                  Following the Yin (feminine, darkness, night, earth) represented on Occult Architecture Vol. 1, Vol. 2 presents the Yang. Yang means “the bright side of the hill” and is associated with the male, sun, light and the spirit of heaven, and as such Vol. 2 explores the light and airy elements of Moon Duo’s complex psyche.

                  “In production we referred to Vol. 1 as the fuzz dungeon, and Vol. 2 as the crystal palace,” guitarist Ripley Johnson explains. “The darkness of Vol. 1 gave birth to the light of Vol. 2. We had to have both elements in order to complete the cycle. We’re releasing them separately to allow them their own space, and to ensure clarity of vision. To that end we also mixed Vol. 2 separately, in the height of Portland summer, focusing on its sonic qualities of lightness, air, and sun. Listeners can ultimately use the two volumes individually or together, depending on circumstance or the desired effect.”

                  Vol. 2 was mixed in Portland by the band’s longtime collaborator Jonas Verwijnen

                  STAFF COMMENTS

                  Barry says: If you haven't heard of Moon Duo already, where have you been? This is the second (and equally excellent) album they have put out in 3 months! Driven psychedelic haze, hypnotic distortion and ethereal vocals, pushed together into a perfect combination of melody and drive. How do they keep doing it?

                  Follakzoid

                  London Sessions

                    THIS IS A RECORD STORE DAY 2017 EXCLUSIVE, LIMITED TO ONE PER PERSON.

                    It should come as no surprise to fans of the Chilean trio Föllakzoid that upon meeting the legendary Jason Pierce a.k.a. J. Spaceman (Spacemen 3, Spiritualized), they discovered they were kindred spirits. Föllakzoid and Spaceman’s projects share a restless drive to explore the outer limits of music, as well as an uncanny ability to lock into a groove until it infiltrates the deepest recesses of the listener’s psyche. When Föllakzoid met Spaceman backstage at a Wooden Shjips gig at London’s Electric Ballroom several years ago, they instantly became friends. For London Sessions, the Chileans and Spaceman joined forces for new, live-to-tape renditions of “Electric” and “Earth,” two highlights from Föllakzoid’s III.

                    The recordings were made in a private studio in London while Föllakzoid was on tour in Europe in June 2016, and Spaceman’s contributions breathe new life into the songs. “Jason added a very different harmonic atmosphere to the songs,” guitarist Domingo Garcia-Huidobro explained. “It somehow rearticulated the space and metric that already existed in a way the band never could.”

                    Bestial Burden, the previous album by Margaret Chardiet’s Pharmakon project, focused on the disconnect between mind and body, looking at the human as an isolated consciousness stuck inside of a rotting vessel. For Contact, she wanted to look at the other side of the spectrum – the moments when our mind can come outside of and transcend our bodies. In trance states, music and the body are used to transcend the physical form and make contact with some outside force. Chardiet decided to structure the compositions of each side of Contact after the stages of trance: preparation, onset, climax, and resolution.

                    ARTIST’S STATEMENT:
                    Man is a rabid dog, straining at its leash of mortality with bared teeth. Snarling and clawing over each other, we aim to reach a higher ground to claim as our own. There are those who will attempt to exert power over others to attain it. They will sniff you out; lay claim over your body, your actions, your thoughts, your time. (How starkly human, so desperate for the sense of vantage over all versions of its own reflection!) Their aims are empty, because their power is a construct they created and gave back to themselves. They too are small and inconsequential. All people are only human and humans are only animals. The nature of existence and our sentience is chance, owing nothing to anything. Humankind is of no special significance to the universe. (Despite all our scrambling rejections, we cannot transcend all of our instincts — just animals, lost in a confused dream, where mankind is real and at the center of everything). We are each nothing but a single, short-lived cell in a vast organism which itself will one day die. If we accept that the only true claim sentience gives us is our tiny sliver of time, it opens us to revel in it, to make CONTACT. When we pick up on transmissions between the private rooms inside our heads and the flesh of our vessels, when thought escapes its isolation and is seen, heard and understood. When our mind uses the body in order to transcend and escape it! The moments of connection/communion/CONTACT, when the veil is for a brief but glorious moment lifted, and we are free. Empathy! EMPATHY, NOW!

                    As humans, we are aware of our inner beast and should therefore be able to control it. We understand our hard-wired primal urges and why they exist in an evolutional sense. We understand the relationship between mind and body. Highly evolved and intelligent, we should be able to recognize these genetic hangovers and control them as a means to act positively and move forward as a compassion-ate species. Unfortunately, this is not the case. Recent global events have proven this. The human race is consuming itself.

                    World Eater, the new album by Benjamin John Power’s Blanck Mass project, is a reaction to this. There is an underlying violence and anger throughout the record, even though some of these tracks are the closest Power has ever come to writing, in his words, “actual love songs.”

                    “Maybe subconsciously this was some kind of countermeasure to restore some personal balance,” Power explains.

                    On World Eater, Power further perfects the propulsive, engrossing electronic music he has created throughout his impressive decade-plus career, both under the Blanck Mass moniker and as one-half of Fuck Buttons, as he elaborates upon the sound of 2015’s brilliant double album Dumb Flesh. As massive as the sonic world of the new record often feels, its greatest achievement is in its maximization of a limited set of tools, a restriction intentionally set by Power himself.

                    “As an exercise in better understanding myself musically, I found myself using an increasingly restricted palette during the World Eater creative process. Evoking these intense emotions using minimal components really put me outside of my comfort zone and was unlike the process I am used to. Feeling exposed shone a new light on this particular snapshot. I feel enriched for doing so.”


                    STAFF COMMENTS

                    Barry says: Once again, Power brings it with a heady and churning suite of crackling drones, glimmering pads and reticent melodies. Forged through repetition and determination, there lies within a wealth of beauty and startling directional clarity, revealed through minute changes in timbre and force. A brilliantly measured and impeccably conceived electronic rite of passage.

                    FORMAT INFORMATION

                    Coloured LP Info: Limited black-and-white marble coloured vinyl edition - 300 copies only.

                    Meaning all things magick and supernatural, the root of the word occult is that which is hidden, concealed, beyond the limits of our minds. If this is occult, then the Occult Architecture of Moon Duo’s fourth album - a psychedelic opus in two separate volumes released in 2017 - is an intricately woven hymn to the invisible structures found in the cycle of seasons and the journey of day into night, dark into light.

                    Offering a cosmic glimpse into the hidden patterning embedded in everything, Occult Architecture reflects the harmonious duality of these light and dark energies through the Chinese theory of Yin and Yang.

                    In Chinese, Yin means “the shady side of the hill” and is associated with the feminine, darkness, night, earth. Following this logic, Vol. 1 embraces and embodies Moon Duo’s darker qualities — released appropriately on February 3, in the heart of winter in the Northern Hemisphere.

                    According to guitarist Ripley Johnson, “the concept of the dark/light, two-part album came as we were recording and mixing the songs, beginning in the dead of winter and continuing into the rebirth and blossoming of the spring. There’s something really powerful about the changing of the seasons in the Northwest, the physical and psychic impact it has on you, especially after we spent so many years in the seasonal void of California. I became interested in gnostic and hermetic literature around that time, especially the relationship between music and occult qualities and that fed into the whole vibe.”

                    Adds keyboardist Sanae Yamada, “the two parts are also intended to represent inverted components of a singular entity, like two faces on the same head which stare always in opposite directions but are inextricably driven by the same brain.”

                    Vol. 1 was mixed in Berlin by the band’s longtime collaborator Jonas Verwijnen.


                    STAFF COMMENTS

                    Barry says: Pulsing, synth-driven electronica meets hypnotic psych headfirst on Moon Duo's latest odyssey. From the dark-wave gloom-step of 'Cold Fear' to the rocking swagger of'White Rose', Moon Duo consistently smash the boundaries. Play loud.

                    Wake in Fright, the second full-length by the New York City duo Uniform, is a harrowing exploration of self-medication, painted in the colors of war. Following the Ghosthouse 12", whose A-side Pitchfork called “their most relentless track yet,” vocalist Michael Berdan and guitarist/producer Ben Greenberg return with a new batch of even more punishing songs that incorporate elements of industrial music, thrash metal, harsh noise, and power electronics.

                    “This record is primarily about psychic transition,” Berdan explained. “The distress that these songs attempt to illustrate comes from a place of stagnation and monotony. This is what happens when old ways of thinking become exhausted and old ways of coping prove ineffective. Something must change or it will break.”

                    The characters Berdan brings to life in his lyrics quit using but have ruinous relapses (“Habit”) or struggle as their resolve crumbles (“Bootlicker”); they use alcohol to ease their insomnia but and are helpless when they get sober and stop sleeping again (“Night of Fear”); they’re existential misanthropes trapped in dead-end lives (“The Lost”).

                    Greenberg sets these stories to menacing guitar and samples of literal sounds of war — the kick drums are bombs going off, the snares are gunshots. He drew the record’s immense sample library from action movies, Foley sound packs, field recordings, and more, and the result is devastating. The guitar is also as crucial as ever, and now as indebted Slayeras it is to Big Black. Greenberg conjures up massive riffs and shredding solos, pushing the band deeper into the metal world whose borderlands they’ve long stalked.

                    “We are surrounded by war and the whole world is burning and it doesn’t seem like there are any appropriate reactions or responses left anymore,” Greenberg elaborated. “This music is our response to and our reflection of the overwhelming violence, chaos, hate, and destruction that confronts us and everyone else in the world every day of our lives. When we play, I don’t feel powerless anymore. I hope this record can help others transcend their anger and frustration.”

                    STAFF COMMENTS

                    Barry says: A visceral and brutal assault of double kick drums, pummelling grindcore guitars and low-fi gritty production aesthetic make this a force to be reckoned with. Electronic backboned brutalist sound sculptures for the enraged.

                    FORMAT INFORMATION

                    Coloured LP Info: Indies exclusive white vinyl.

                    Coloured LP includes MP3 Download Code.

                    Atticus Rose, Leopold Ross And Bobby Krlic

                    Almost Holy - Original Motion Picture Soundtrack

                      After the collapse of the Soviet Union, a number of Ukraine’s youth wound up homeless and addicted to a lethal cocktail of injected cold medicine and alcohol. Steve Hoover’s documentary Almost Holy follows a pastor named Gennadiy Mokhnenko, who saves street kids, at times by forcible abduction, and brings them to his Pilgrim Republic rehabilitation center. The film’s depiction of a country in the grip of poverty, addiction, and warfare is made even more powerful by its captivating electronic score by award-winning composer Atticus Ross, his brother Leopold Ross, and Bobby Krlic (The Haxan Cloak).

                      “Occasionally a project comes along where one feels compelled to contribute,” Atticus said of seeing the early footage that convinced him to work on the film. “It’s a different world over there – of course we have dire poverty in the U.S. – but to see an army of drug-addicted children living in those conditions, children the same age as my own, under ten years old but covered in track marks and sleeping on sewers to stay warm, and someone is asking you to write a little music to help the cause. It would be hard to find a reason not to.”

                      His collaborators felt the same way, and the trio soon began work on the score — the Ross brothers in the U.S. and Krlic in the U.K. The distance meant the composers initially worked separately, but in the end, the soundtrack feels remarkably coherent.

                      The message and content of film kept the trio inspired, and once Krlic had emigrated to the U.S., they met at Atticus’ studio and continued to work on the album as a free-standing piece. The film remained the anchor and the catalyst for their creativity, but several of the tracks on the record don’t appear in the picture at all. Almost Holy is thus not simply a soundtrack album, but a soundtrack and an album, one that both enriches its film and stands apart from it.

                      Norwegian artist Jenny Hval announces the release of her new album, Blood Bitch via Sacred Bones. Co-produced with acumen noise producer Lasse Marhaug, Blood Bitch is in many respects a complete 180° from her last album, Apocalypse, girl, in subject matter, execution and production. It is Hval’s most focused album, but the lens is filtered through a gaze which the viewer least expects.

                      In the words of Jenny Hval: “Blood Bitch is an investigation of blood. Blood that is shed naturally. The purest and most powerful, yet most trivial, and most terrifying blood: Menstruation. The white and red toilet roll chain which ties together the virgins, the whores, the mothers, the witches, the dreamers, and the lovers. Blood Bitch is also a fictitious story, fed by characters and images from horror and exploitation films of the '70s. With that language, rather than smart, modern social commentary, I found I could tell a different story about myself and my own time: a poetic diary of modern transience and transcendence. There is a character in this story that is a vampire Orlando, traveling through time and space. But there is also a story here of a 35-year old artist stuck in a touring loop, and wearing a black wig. She is always up at night, jet lagged, playing late night shows - and by day she is quietly resting over an Arp Odyssey synthesizer while a black van drives her around Europe and America. So this is my most fictional and most personal album. It’s also the first album where I’ve started reconnecting with the goth and metal scene I started out playing in many years ago, by remembering the drony qualities of Norwegian Black Metal. It’s an album of vampires, lunar cycles, sticky choruses, and the smell of warm leaves and winter.”

                      Jenny Hval has developed her distinct take on intimate sound since the release of her debut album in 2006. For her last two solo albums, 2013's Innocence Is Kinky and 2015’s Apocalypse, girl, Hval has received thoughtful and widespread international acclaim for her fascinating voice, singular delivery and markedly non-traditional arrangements which incorporate elements of poetry, prose writing,
                      performance art, and film. She eloquently brings to light issues of both male and female gaze.


                      STAFF COMMENTS

                      Barry says: It sounds like Hval may have just written her opus. Subversive synthetic rhythms and churning drones are cut through with stunningly serene moments (Conceptual Romance is a particularly stunning interlude after an abstract trio of mood-setting numbers). Spoken word samples set the tone to a backdrop of meditative swirls and vocal swoops on 'Untamed Region' while follower 'The Great Undressing' is brilliantly syncopated spoken/sung words over the backdrop of almost utopian arpeggios and crescentic pads. Harsh moments make the lucid intervals all the more stunning, revealing the beauty behind the struggles, accentuating both the highs and lows. Masterpiece.

                      Uniform

                      Ghosthouse

                        Uniform formed in New York City in 2013 when old friends Ben Greenberg (ex-The Men, Hubble, and the producer/engineer responsible for much of the Sacred Bones catalog) and Michael Berdan (ex-Drunkdriver, York Factory Complaint) reconnected and realized that they had evolved to a similar place musically. Wanting as intimate an experience as possible, they decided to keep the project a two-man show, eschewing a live rhythm section for programmed drums and low-end synths, augmented with Greenberg playing guitar and Berdan handling vocals. The collaboration quickly yielded a raw 12", followed by a full-length, Perfect World. The Ghosthouse12", is the first Uniform release on Sacred Bones Records, and it will be followed by a full-length in early 2017.

                        Ghosthouse shares a basic configuration with the previous Uniform releases, but the tools have evolved far beyond their initial drum machine and bass synth setup. These songs have grown from a broader palette of sounds — shots, explosions, implosions, impacts, ricochets, collapse; the sounds of conflict, war, and destruction that we witness every day. The result is the most sonically confrontational Uniform material to date, and Berdan’s lyrics, largely inspired by his lifelong battle with insomnia and depression, match them for relentlessness.

                        The three songs on Ghosthouseshow the incisiveness that Greenberg and Berdan now have at their command. The title track addresses the feeling of lying awake at night and wondering if it’s still possible to make peace with an estranged friend after their death. “Waiting Period,” a riff on the Hubert Selby Jr. novel of the same name, is the internal dialogue of a man waiting for his handgun application to clear so he can kill himself. The “Symptom of the Universe” cover pays mostly faithful homage to Black Sabbath, but trades the original’s “summer skies of love” for something far bleaker. These tracks reveal the incredible range that’s possible within the Uniform musical template, and they provide a fascinating glimpse of what’s to come.


                        Marching Church

                        Telling It Like It Is

                          Marching Church, the onetime solo project and now bona fide big band formed by singer Elias Bender Rønnenfelt, has followed its leader’s muse everywhere from their early days of 4-track lo-fi tapes, to Sam Cooke-tinged soul on This World is Not Enough, to outré free jazz on their most recent Coming Down 12".

                          For Telling It Like It Is, Rønnenfelt and his bandmates have foregone much of their past proclivity for wild stylistic swings in favor of thematically unified, complicated, but fundamentally cohesive song arrangements; the studio itself at times acting as an auxiliary band member. The result is the most focused vision of Marching Church yet, but one that has lost none of its swagger, and none of its power to enthrall.“We have here one world united under the sparks of one enormous disco ball hanging over us like the moon,” Rønnenfelt elaborates. “In one fleeting moment in the light of its mirrored surface we see human endurance, in the next we see doom.” The light and shade he finds in this worldview permeate the songs on Telling It Like It Is. Rønnenfelt describes the new work “an album which raises multiple flags,” and “the sound of individualism stuck in the center of the modern world, swimming with and against the current.”

                          The band in 2016 comprises Rønnenfelt and his frequent collaborator and Iceage bandmate Johan S. Weith (on electric viola and guitar here), Lower‘s rhythm section of Kristian Emdal and Anton Rothstein, trumpet player Jakob Emil Lamdahl, and Hand of Dust’s Bo Høyer Hansen. Augmenting these sessions are Maaike Van der Linde and Thora Sveinsdottir of the Stargaze Orchestraon flute and strings, and Sonja La Bianca of Choir of Young Believers on saxophone. The obvious chemistry among these players makes this the most cultivated Marching Church album to date, unveiling the full spectrum of capabilities and musical dexterity of each player. Telling It Like It Is taps into a debauched lunacy that teeters equally on the verge of exhaustion, and the charged sensuality rooted in our loins that keep us going.


                          After recently signing to Sacred Bones Records, new four-piece Exploded View, fronted by German/Bristol political- journalist-turned-musician/singer Anika, announce news of their debut self-titled album.

                          While lead single ‘No More Parties in The Attic’ is laden with an enticing no-wave, post-punk sound, layered with distorted guitars and ominous drones– ‘Orlando' chimes in with echoing vintage synths, courtesy of Hugo Quezada that clash with a chilly electro backbeat and an anthemic soulful bass line setting the tone. With her disarming quietude nursery rhyme like vocal delivery, Anika remarks on the creation process: “Well, that day I was speechless and empty; a reflection of the times. I became a vessel for the past; the only way to deal with or help understand the present. Enlightenment came with the help of some strong leading ladies; A certain author, a certain film and a certain actress. Go figure.”

                          Anika released her self-titled debut album in collaboration with Geoff Barrow’s Invada imprint and Stones Throw to critical acclaim in 2010. This new project was created during the rehearsal sessions for Anika's Mexican live debut back in March 2014. An unexpected partnership formed between Annika and local producers, Martin Thulin (Crocodiles producer) synth-head Hugo Quezada (Robota) and Riotboy sweetheart Hector Melgarejo (Jessy Bulbo / Nos llamamos) to form Exploded View. The four musicians discovered a new sound, several steps removed from the krautrock-isms of Henderson’s previous work during their rehearsals and live performances in Mexico City. The straight to tape sessions that followed in the San Rafael neighborhood, ventured somewhere new; a lighter place, unguarded, veering from any script. Improvisation was the guiding principle and the source of the band’s inspiration. The studio itself was outfitted so that every sound produced in the room would be recorded. A Tascam 388 8-track captured everything – fully live, fully improvised, first-takes only. Produced by Thulin and Quezada and mastered by Josh Bonati in NYC.

                          For fans of Can, dub, and political revolution.


                          STAFF COMMENTS

                          Martin says: Berlin's Exploded View formed around Annika Henderson (aka Anika), better known, up to this point, for the sparse, troubled beauty of her solo work. The exploded view in this case is formed by what was initially intended to be Anika's backing band, but is now the entity in its own right. This is a disturbed dream, a fitful night of drones, Kraut dub and fractured melodies over which Anika's low tones brood and rant on subjects as diverse as capitalism, the illusion of existence and Robert De Niro. A dark joy.

                          Cheena

                          Spend The Night With... (Bonus Disc Edition)

                          Both formats include an exclusive free Sacred Bones label sampler bonus disc CD.

                          Don’t sleep. Don’t retreat. Stay awhile. Let’s spend the night together. Cheena testify to a long history of New York nights, trading insults and borrowing beer at rooftop parties that began years ago. There’s plenty of New York in this band – Lou Reed’s better glam punches found a jawline or two among them, the heavy handed playing of the Dolls, and that particular manner of NY glam you can hear in Kiss– that’s all in Cheena.

                          Spend The Night With...is a soundtrack to nights where revelry and lust are never isolated from poor decisions and vanity, where the grave sincerity of a bathroom confession explodes into cruelty and hysteria. Nights on busy streets or crowded subway cars coloured with elegant ambition and constrained by the practicality of street smarts. While we say this is NY music, we must also say this is American music. One could imagine a timeless jukebox of American RNR history from hard glam to cocaine / codeine country has blasted into the imbibed ears of our Cheens for many nights on end. Thus we hear songs for and of the night, songs pieced together out of iPhone recordings of 5am guitar histrionics and lyrics scraped out of speed fried text exchanges. There is a long history of bands as disparate as the Byrds, Gun Club, and the Flesh Eaters which had to reconcile RNR with country and blues roots; a tradition of truly AMERICAN music that feeds on itself. This is where I would isolate the sound of Cheena.

                          America eating itself. Every generation gets the Cheena it deserves because we still live in cities and we still need RNR to live. We still need guitars to be gripped by gods. We still need bards to write odes to heroic crime and ignoble, destitute hedonistic excess, we still need music to drink to that also contains the darkness and disease of hangovers so we aren’t too far away from what is raw and what is real. With love and admiration, I kiss your hand from Melbourne to the Sacred Bones offices and the 538 roof. – DX (Total Control, UV Race, Distort).


                          For two years now, the psychedelic Destruction Unit has been keeping the world waiting for a new album. And it’s not because they’ve grown up or gotten soft, rather because they’ve been in the streets and in your backyards, pushing the freek agenda and imminentizing the alien-eschaton. They’ve been up and down and all around this globe, battling the greedy club owners, show promoters and control pigs to bring the new American heavy underground through your back door. Now here we are, with the psychedelic Unit’s second album for Sacred Bones, Negative Feedback Resistor.

                          In the spirit of solidarity with the other revolutionary communities of our sisters and brothers, the psychedelic Unit urges you to use this album’s energy, energy your speakers can hardly contain, for its intended purpose: to break the chains which you, at the dawn of your understanding, have fastened around your hands and feet. And to see to it that the thrones of every despot erected within you are destroyed. This is crazed-psychedelic-freek-noise guerrilla warfare and these are our streets. The pigs of the law can use their system to manipulate and censor our messages. The control creeps can keep their airwaves safe and comfortable. But none of them have been able to make us turn our voices or our guitar amps down. Destruction Unit sacrificed their ears to make this album as loud of a statement as possible. Will you lend them yours? Negative Feedback Resistor was produced by The Ascetic House and Joe Cardamon in 2015, with the help of Adult Swim and Sacred Bones Records. It was recorded by Joe Cardamon and Greg Gordon at Valley Recording Company, mixed by Ben Greenberg at The Bunker and mastered by Alex DeTurk at Strange Weather.

                          Destruction Unit is R. Rousseau, J.S. Aurelius, N. Nappa, R. Rousseau, A. Flores with additional accompaniments by A.Z. Hungtai (Dirty Beaches, Last Lizard), D. Bolles, (The Germs), L. Rahbek (Lust For Youth, Posh Isolation) and J. Sanes (Hoax, Liebestod).

                          STAFF COMMENTS

                          Barry says: A wall of feedback has never been such an enticing start to a song as on 'Negative Feedback Resistor'. What will happen next? Sludgy stoner bass, walls of distortion, driving distorted hardcore guitar? All are possible (probable, even) and are fist-pumpingly
                          triumphant to boot. Get in the pit, this one is rawkous.

                          FORMAT INFORMATION

                          Ltd LP Info: Limited edition coloured vinyl edition.

                          Ltd LP includes MP3 Download Code.

                          Wymond Miles was raised in the working-class small towns of the American West. On Call by Night, the singer’s latest widescreen opus, Miles masterfully evokes that lost landscape, all while grappling with issues of fatherhood, privacy, PTSD, violence, and dissipated romance. The album adds a critical new chapter to the Fresh & Onlys guitarist’s story as an artist, and reasserts him as a major voice in contemporary songwriting. Call by Night sees Miles building a noticeably bigger sound than on his previous solo records, while simultaneously standing as his most intimate work.

                          It’s a record explicitly written for the fidelity of the vinyl format, with louder songs beginning each album side and quieter songs at the interior. His attention to sequencing paid off; the album flows like a piece of classic cinema, and sounds like it’s splashed across a drive-in screen in 70mm. Recorded using vintage gear by Phil Manley (The Fucking Champs, Trans Am) at El Studio in San Francisco and Miles’ Garden Chamber home studio, the record is a treasure of tube-amp warmth, and a landmark in the songwriter’s catalog. Miles wrote most of Call by Night on piano, and while the wall-of-sound guitar and cinematic synth playing that helped define his earlier efforts is still present, the beating heart of the songs is left more open thanks to his new method.

                          Where previous full-lengths were cloaked in distinct aesthetic choices, this record exists outside of any stylistic restraints. “Divided in Two,” the lead single, considers dignity, class, honor, and father-son relationships through the devastating lens of PTSD, all set to a sardonic flag-waving waltz, with martial percussive bomb blasts. The title track explores the enduring aesthetic of British psych-folk. Other songs dip into the traditions of gospel music, sea shanties, and even big-box power ballads, using antique instruments and Miles’ unique perspective on the modern world to forge a new collection of entries for the American songbook. Miles has said the songs on Call by Night mark his “more definitive commitment to seek, listen, and give voice to an enduring muse.” If that’s true, then the muse has obviously been singing to him loud and clear.

                          New solo record by the guitarist of The Fresh & Onlys


                          FORMAT INFORMATION

                          LP includes MP3 Download Code.

                          The seekers in New York City’s Psychic Ills have spent more than a decade following their muse wherever it takes them. Inner Journey Out, the band’s highly anticipated fifth album and first since 2013, is the culmination of an odyssey of three years of writing, traversing the psych-rock landscape they’ve carved throughout their career and taking inspired pilgrimages into country, blues, gospel, and jazz.

                          Inner Journey Out started out the way many Ills records have - with frontman Tres Warren's demos. Like all of their records, Elizabeth Hart's bass is the glue that holds everything together. Where other recent albums found Warren overdubbing himself to create a blown-out, widescreen sound, this recording handed the reigns to a multitude of guest players. A cadre of musicians and vocalists – including Mazzy Star’s Hope Sandoval, who duets on lead single “I Don’t Mind” – join in on the journey. This is the first record to feature touring keyboard player Brent Cordero, his Farfisa and Wurlitzer work is a staple throughout. Rounding things out, is a platoon of drummers and percussionists including Chris Millstein, Harry Druzd of Endless Boogie, Derek James of The Entrance Band, and Charles Burst, one of the record’s engineers. These musicians build the frame on which Warren lays his hazy guitar and vocals. An endless array of friends and guests also provide pedal steel guitar, horns, strings, and backing vocals, which culminate in a career-defining moment for the Ills.

                          Thematically, Inner Journey Out is a detailed exploration of the interior and the exterior, and the pathway between the two. The focused songwriting makes the stylistic departures fit seamlessly within the band’s dexterous ethos. The rousing gospel number “Another Change” and the far-out free jazz exploration “Ra Wah Wah” help shape Inner Journey Out into a multi-faceted, full album experience. It’s the most personal Psychic Ills album, too, hinting tantalizingly at love and loss but denying the listener resolution — asking questions, but never answering; seeking, but never fully concluding.

                          A decade on from releasing their critically lauded cult debut, Dins, and the deep dive into cosmic improvisation of Mirror Eye that followed, through the more recent and straightforward outings of Hazed Dream and One Track Mind, Psychic Ills have delivered their most remarkable statement yet with Inner Journey Out.

                          File next to other drop out symphonies like Ladies and Gentlemen We Are Floating in Space by Spiritualized, Pacific Ocean Blue by Dennis Wilson, and Born to Be With You by Dion, and let your journey begin.


                          STAFF COMMENTS

                          Barry says: This is a swooning, cosmic psych delight. Swaying bass and distant guitars meld together beautifully into a cauldron of reverb and delay. Reminiscent of early Floyd freak-outs and modern psychedelic indie bastions. Swooning melodies and slide guitar abound. Acid-soaked summer sounds.

                          FORMAT INFORMATION

                          2xColoured LP Info: Limited desert haze coloured vinyl.

                          On Halloween 2014, the director and composer John Carpenter introduced the world to the next phase of his career with “Vortex,” the first single from Lost Themes, his first-ever solo record. In the months that followed, Lost Themes rightfully returned Carpenter to the forefront of the discussion of music and film’s crucial intersection. Carpenter’s foundational primacy and lasting influence on genre score work was both rediscovered and reaffirmed. So widespread was the acclaim for Lost Themes, that the composer was moved to embark on something he had never before entertained – playing his music live in front of an audience.

                          2016 will host the first ever John Carpenter tour and in true Carpenter spirit, a sequel to Lost Themes: Lost Themes II. The follow-up brings quite a few noticeable changes to the process, which result in an even more cohesive record. Lost Themes’ cowriters Cody Carpenter (John’s son) and Daniel Davies (John’s godson) both returned. Cody was recently also heard as a composer for Showtime’s Masters of Horror series (Cigarette Burns and Pro-Life), and NBC’s Zoo. Davies was a composer for NBC’s Zoo, as well as the motion picture Condemned.

                          All three brought in sketches and worked together in the same city, a luxury they weren’t afforded on the first Lost Themes. The result was a more focused effort, one that was completed on a compressed schedule — not unlike Carpenter’s classic, notoriously low-budget early films. The musical world of Lost Themes II is also a wider one than that of its predecessor. More electric and acoustic guitar help flesh out the songs, still driven by Carpenter’s trademark minimal synth.

                          Keep your eyes peeled for John and his co-writers to hit the road next year performing both lost and newly found themes, in addition to retrospective work from Mr. Carpenter’s multi-generational career. Long live the Horror Master.

                          STAFF COMMENTS

                          Barry says: Master of Kosmische synth-workouts and general synth-based sountracking legend John Carpenter returns here with the second instalment of his surprising 'not a soundtrack' offering from last year. More twinkling synths, motorik pulses and cavern-soaked reverbed drums. Though soundtracks have always been Carpenters raison d'etre, this outstanding expansion on his lost themes selections just goes to show that Carpenter is indeed the king of the cosmic.

                          FORMAT INFORMATION

                          Ltd LP Info: Super limited purple & white swirl vinyl! Includes a download code which also includes a bonus track.

                          Movement and gesture is natural. The flâneur has an iPhone, and their heart is embroidered into a microfiber sleeve in gold.

                          Lust for Youth are a three-piece from Copenhagen. 2014’s acclaimed album, International, took the melancholic insomnia of their former releases out into the street and away from the domestic frustrations of a life in headphones. Suddenly, surrounded by bodies, and with a staccato heart, Balearic infatuations and capricious nights in crowded clubs set the mood for Norrvide’s pining sighs. International marked Lust For Youth’s new-found decadence with fully resolved charm and enhanced self-deprecation. This was swiftly channeled into their recent hit, “Better Looking Brother.” Compassion’s first single was streamed over 50k times in its first month, capping off a highly successful 2015 of worldwide tours and critical social media updates.

                          Compassion restates beauty for a time of crisis and clickbait. Judgement, design, form, and opinion: to what end will we refine our world if we can’t also make an anthem of our lives? This is the tender conspiracy: I’m on twitter; I have an anthem. Do we have an anthem? We have lust. Let’s meet IRL.

                          Lust for Youth are affectionately vicious, and vulnerably sharp. They are the anticipation of the comedown as you come up on the best you’ve ever been offered from a bathroom stall. This is the spectrum: a low you know, and a dizzy new height.

                          Hearts blind lights and finance desire. Is it the fate of the cunning to look good, or is it just cunning to look this good? Compassion is dexterity: we all look this good. An impulse is an appetite, and you’re entitled to everything. Multitask collapse and revolution because you’re a beautiful mess.

                          Compassion is deliverance.
                          Anticipate compassion. —Patrick Quick

                          Human culture has reached its terminus. The corporate and political machinery that seeks to subjugate our bodies and control our minds has utterly defeated us, and we didn’t put up a fight. We willingly participate in the constant surveillance that has stripped us of any semblance of privacy. It is this world that Pop.1280 inhabits, and unto this world that they offer Paradise, their third full-length album. Paradise is an act of defiance against the engineers of these end times, yes — but it’s also an unforgiving look into the mirror; it’s the paradise we created for ourselves.

                          While Paradise is indeed concerned about the ills that technology has wrought in the modern world, it’s also a record fraught with existential ennui. A fear permeates the record that the world will never get any better; that we as humans have made our bed and now must lie in it. The combined weight of those external and internal forces lay the foundation for the album, and they give it its power. Paradise builds on 2013’s Imps of Perversion LP and 2015’s Penetrate 7" by venturing further outside of traditional notions of punk, and diving even deeper into outer sounds. Synthesizers, mechanized drum machines, and samplers play as critical a role on the record as the more familiar squall of Ivan Drip’s buzzsaw guitar and Chris Bug’s vocals. Any noise a band member could make that helped contribute to the record’s atmosphere of unease was welcome; synth player Allegra Sauvage adds cello to two songs, and drummer/producer Andy Chugg plays trumpet on the title track.

                          The sessions for Paradise were held at the Population Control Center, and the result is the most collaborative Pop. 1280 release to date. Despite its misgivings about technology, Paradise was made possible by the confluence of humans and their machines, at times struggling for control, but ultimately working together to create this vital, vicious piece of art. If the bitter irony makes you smile, hold that pose — the camera lens is watching.

                          John Carpenter's

                          Lost Themes: Remixes

                            John Carpenter has inspired countless musicians since his earliest minimal, synth-based film scores. The themes to his features like Assault on Precinct 13, Halloween, and Escape from New York have remained instantly recognizable since he penned them nearly four decades ago. In February 2015, Sacred Bones released his first solo record of non-soundtrack music, Lost Themes, to overwhelming critical success. The Horror Master proved that not only could he perfectly score his own films - he could also score the movies in your mind.

                            Eight pivotal contemporary electronic artists were moved to reshape the original songs on Lost Themes in tribute to one the genre's great pioneers. Several of the remixes were released as part of the digital deluxe edition of the album, but Lost Themes Remixed marks the first time any of the tracks have been on vinyl.

                            FORMAT INFORMATION

                            LP Info: Standard black vinyl edition.

                            Think big, girl, like a king, think kingsize. Jenny Hval’s new record opens with a quote from the Danish poet Mette Moestrup, and continues towards the abyss. Apocalypse, girl is a hallucinatory narrative that exists somewhere between fiction and reality, a post-op fever dream, a colourful timelapse of death and rebirth, close-ups of impossible bodies — all told through the language of impossible pop music.

                            When Norwegian noise legend Lasse Marhaug interviewed Jenny Hval for his fanzine in early 2014, they started talking about movies, and the conversation was so interesting that she asked him to produce her next record. It turned out that talking about film was a great jumping off point for album production. Hval’s songs slowly expanded from computer loops and vocal edits to band mates Håvard Volden and Kyrre Laastad — and finally exploding into collaborations from Øystein Moen (Jaga Jazzist/Puma), Thor Harris (Swans), improv cellist Okkyung Lee and harpist Rhodri Davis. All of these musicians have two things in common: they are fierce players with a great ear for intimacy, and they hear music in the closing of a suitcase as much as in a beautiful melody.

                            And so Apocalypse, girl is a very intimate, very visual beast. It dreams of an old science fiction movie where gospel choir girls are punks and run the world with auto-erotic impulses. It’s a gentle hum from a doomsday cult, a soft desire for collective devotion, an ode to the close-up and magnified, unruly desires. Jenny Hval has developed her own take on intimate sound since the release of her debut album in 2006. Her work, which includes 2013's critically celebrated Innocence Is Kinky (Rune Grammophone), has gradually incorporated books, sound installations and collaborations with poets and visual artists. For Hval, language is central, always torn between the vulnerable, the explosive and total humiliation.


                            Blanck Mass is the solo project of Benjamin John Power. The Fuck Buttons musician has been making music under the moniker since 2010. His self-titled debut was released on Mogwai’s Rock Action in 2011. Described by Fact Magazine as “simultaneously soothing and sweepingly grandiose, esoteric and surprisingly accessible”, the album was an elegant, introspective departure from the stadium electronica he had become known for.

                            In 2012, ‘Sundowner’ – the second track from the album – soundtracked the London Olympics Opening Ceremony. The song was chosen by Underworld’s Rick Smith and performed by London’s Symphony Orchestra to 900 million people worldwide.Power’s newest solo offering, Dumb Flesh, was written, produced and recorded by Benjamin in a number of different locations over the space of a year. It began life in Fuck Buttons’ ‘Space Mountain’ studio, moved into a windowless attic space in Hatch End, North London, then was finished up at Ben’s new home in Edinburgh.

                            The geographical spread of the sessions is reflected in the shifting landscapes of the tracks and the ever-changing sound-palette used to realize Dumb Flesh as an expansive body of work.As a work of art, Dumb Flesh is a comment on the flaws of the human form in its current evolutionary state. The frailty of the human body naturally became a resonant and inescapable part of the album's gestation. “We are at the mercy of our genetic heritage everyday. No matter how intelligent we are compared to other life forms, we’re still made up of the same building blocks and things can go very wrong”. In particular, the first single ‘Dead Format’ reflects upon this reality, whilst ‘Atrophies’ and ‘Detritus’ acknowledge the organic decay we will all inevitably succumb to.

                            The album went through myriad stages of completion before arriving at this definitive version. Benjamin elaborates “There must have been at least three occasions where I re-produced the whole thing, replacing instrumentation and experimenting with new machines until I was happy with where the evolution of the project had arrived. That’s the difference between the subject matter of Dumb Flesh and the process of creating it; an end point can be reached. Saying that, I don’t like to stick around in one place too long so we’ll see where this leads to next.”

                            The Holydrug Couple began in Santiago, Chile in 2008, a little over a half-decade after Ives and Manu met for the first time. The two young friends hadn't seen each other in a few years when Manu texted Ives to tell him that he bought a drum kit. They started jamming, and a week later, the band was formed. A flurry of songwriting activity followed, culminating in 2011's Ancient Land EP and 2013's Noctuary, both released on Sacred Bones. Moonlust boldly treads territory that those earlier psych-indebted recordings only hinted at, especially the dreamy French movie soundtracks of the '70s and '80s and the discography of Serge Gainsbourg.

                            “I had clear what I wanted to revisit from the last album, as well as what I didn’t want to do again,” Ives said. “I definitely wanted to make a good-sounding record, clear and heavy. I wanted to get away as much as possible from the ‘band’ sound. The last album wasn’t recorded live, but I tried to make it sound as if it had been. This time, I wanted to make an electronic-like album instead.”

                            The result is an album in the self-recorded Moonlust that falls well outside the boundaries of the prevailing psych-rock idiom. In addition to the French soundtrack and Gainsbourg influences, they cite inspiration from the soul ballads of Aretha Franklin, ’80s South American synthpop acts like Los Encargados, Virus, and Los Prisioneros, and the contemporary French electro group Air. The songs are streamlined hook delivery machines, without any baroque arrangements or unnecessary flourishes to get in the way of their ultimate goal.

                            To Ives, the lyrical themes on the record represent “feeling lust, desire, for something that you see when it’s dark but it’s so far away that it’s unreachable. It’s an unrealistic target, like God, maybe, or a dream archetype of a goddess. It’s the feeling of melancholy that you can’t fulfill with anything.”

                            If that feeling sounds anything like the songs on Moonlust, then here’s hoping that he and Manu keep reaching out into that cosmic void anyway.


                            STAFF COMMENTS

                            Andy says: Gorgeous record alert! Languid, shimmery, indie-Floyd sounds. Like when Air had a stab at The Floyd, but way better! Just lovely, mellow, melodic music. Definitely worth checking.

                            Föllakzoid began seven years ago as a trance experience between childhood friends Diego, Juan Pablo, and Domingo from Santiago, Chile. Heavily informed by the heritage of the ancient music of the Andes, the band has learned to integrate this influence with contemporary sounds of their times, creating a rich yet minimal atmosphere.

                            For III, the band wanted to expand their sound while building an atmosphere with mainly monochords and reiteration. After recording and mixing the album on their own at their studio at BYM Records, they partnered with German electronic maestro Atom TM to flesh out the album’s synth parts. Most of the sounds he provided were atonal electronic sounds, aiming for concrete frequencies and sampled organic glitches. (The Korg synthesizer Atom TM plays on this record was used by Kraftwerk on a tour during the ’80s and given to him by Florian Schneider.)

                            III is a four-part minimal sound voyage in which you can hear Föllakzoid’s musical language developing into something more upbeat, obscure, and sharp, yet even simpler in terms of elements. During the past year, the band played more than 80 gigs, including at Primavera Sound Festival (both Porto and Barcelona), ATP Festival in the UK, Musique Volantes in Lyon, and Lollapalooza Chile. The shows for III, including a confirmed set at Austin Psych Fest in May, should spread the band’s fog-enshrouded gospel to an even wider audience. 

                            FORMAT INFORMATION

                            Ltd LP Info: Limited to just 400 copies only on GOLD vinyl!

                            Ltd LP includes MP3 Download Code.

                            Marching Church

                            This World Is Not Enough

                            Since 2010, Elias Bender Rønnenfelt (Iceage, Vår) has used the Marching Church moniker to a variety of musical ends, both live and recorded. However, the project as it exists on This World Is Not Enough wasn’t born until November 2013. With a live performance looming and no real idea what the set would be, Rønnenfelt found a new vision for the band while daydreaming at a gig at the venue where Marching Church was set to perform. “What I pictured was me in a comfortable armchair, adorned in a golden robe, leading a band while a girl kept pouring me champagne when I required it,” Rønnenfelt explained. “This raised the question, ‘What sort of music would go along with this picture?’”

                            Rønnenfelt discovered the answer to that question with a lineup rounded out by Kristian Emdal and Anton Rothstein of Lower, Cæcilie Trier (Choir of Young Believers), Bo H. Hansen (Hand of Dust, Sexdrome) and Frederikke Hoffmeier (Puce Mary). Under Rønnenfelt’s leadership, the group composed some music, rehearsed twice, and played their show. It was decided that night that this incarnation of Marching Church would make a record.

                            This World Is Not Enough was influenced at first by obscure works like David Maranha’s experimental drone-rock saga Antarctica, and eventually by soul bandleaders like James Brown and Sam Cooke. “The whole month of writing and rehearsing and the one week we had in the studio was truly an explosion of ideas,” Rønnenfelt said. “Improvisation, something I have never worked with before, was crucial in the making of this album, considering the loose nature of the writing on some of these songs. The album works because of the band’s incredible ability of breathing life into these, at times, very simple ideas and experiments.” The eight tracks that made the final cut are, in Rønnenfelt’s words, “songs of nocturnal longing, preposterous self-obsession and cockeyed etiquette,” and they are an exemplary statement of the songwriter’s extraordinary growth since the birth of Iceage.

                            The highest apex of psychedelia, be it art, music, drugs or literature, is to induce a prolonged consciousness shift that affects the consumer far beyond the time that they were privy to the act. Moon Duo‘s third full-length LP, Shadow of the Sun, was written entirely during one of these evolving phases. Working in a rare and uneasy rest period for the band, devoid of the constant adrenaline of performing live and the stimulation of traveling through endless moving landscapes, offered Moon Duo a new space to reflect on all of these previous experiences and cradle them while cultivating the new album in the unfamiliar environment of a new dwelling; a dark Portland basement. The effect was akin to the act of descending from a train after a long and arduous trip, only to see it (and all your subsequent realities) speed off into the horizon without you. It was from this stir-crazy fire that Shadow of the Sun was forged.

                            Evolving the sound of their critically acclaimed first two full length records, Mazes (2011) and Circles (2012), Ripley Johnson and Sanae Yamada have developed their ideas with the help of their newly acquired steam engine, Canadian drummer John Jeffrey (present on the band‘s last release, Live in Ravenna. Moon Duo used the creative process as a flickering beacon of sanity in an ocean of uncertainty while in these land bound months. The unchartered rhythms and tones of this album reflect their striving for equilibrium in this new environment, and you can hear that Shadow of the Sun is the result of months of wrangling with this profound, unsettling way of being. Exploring the record, a listener will perceive the song "Night Beat," with its off-kilter dance rhythm, as an attempt by the band to find meaning and acceptance in this new, shifting ground, while “Wilding" delivers a familiar Moon Duo sound, taking refuge in a repetitive, grinding riff-scape. Elsewhere on the record, the band recognizes that no journey is possible without being on the road, paying tribute to the cosmic trucker boogie saint in “Slow Down Low” and “Free the Skull.” From the narcoleptic dancefloor killer “Zero,” the record spirals perfectly into a resplendent daydream, the ecstatically pretty “In a Cloud,” which is a spectacular moment to witness.

                            In a nod to a great pop tradition, the lead single, “Animal,” will appear as the A-side of a 7-inch, packaged with each copy of the vinyl edition. The song has an early West Coast punk viciousness to it that is entirely unique to the Moon Duo catalog, and it will also appear as the last track on the CD.

                            To further coat the album with an air of uncertainty and tension, the duo decamped to Berlin to mix with Finnish beat-meister Jonas Verwijnen of Kaiku Studios. There in a counter-intuitive act of creative catharsis, they managed to dissolve the album’s formal technique into a cool and paradoxically sane sound of confusion.

                            The result, at the end of the trip, is the album Shadow of the Sun.

                            FORMAT INFORMATION

                            Ltd LP includes MP3 Download Code.

                            John Carpenter

                            Lost Themes

                            John Carpenter, the legendary director and composer behind Halloween, Escape From New York, They Live, Assault on Precinct 13 and many more announces his debut solo album ‘Lost Themes’ on Sacred Bones Records. 

                            John Carpenter has been responsible for much of the horror genre’s most striking soundtrack work in the fifteen movies he’s both directed and scored. The themes that drive them can be stripped to a few coldly repeating notes, take on the electrifying thunder of a rock concert, or submerge themselves into exotic, unholy miasmas. It’s work that instantly floods his fans’ musical memory with imagery of a menacing shape stalking a babysitter, a relentless wall of ghost-filled fog, lightning-fisted kung fufighters, or a mirror holding the gateway to hell. Lost Themes asks Carpenter’s acolytes to visualize their own nightmares.

                            “Lost Themes was all about having fun,” Carpenter says. “It can be both great and bad to score over images, which is what I’m used to. Here there were no pressures. No actors asking me what they’re supposed to do. No crew waiting. No cutting room to go to. No release pending. It’s just fun. And I couldn’t have a better set-up at my house, where I depended on (collaborators) Cody (Carpenter, of the band Ludrium) and Daniel (Davies, who scored I, Frankenstein) to bring me ideas as we began improvising. The plan was to make my music more complete and fuller, because we had unlimited tracks. I wasn’t dealing with just analogue anymore. It’s a brand new world. And there was nothing in any of our heads when we started other than to make it moody.”

                            As is Carpenter’s style, repetition is the key to the thundering power of these tracks, their energy swirling with shredding chords, soaring organs, unnerving pianos and captivating percussion. Singularly titled to inspire dread with such names as “Vortex,” “Dominion,” “Abyss,” and “Purgatory,” but all linked into a unified whole, Lost Themes has a mesmerizing power. Horror fans will be reminded of Carpenter’s past works, as well as ancestors like Mike Oldfeld’s Tubular Bells and the raging guitars and chiming percussion of Goblin’s Suspiria. “’Both classical music and rock and roll are part of my musical language, which is riff-driven,” Carpenter explains. “So if you listen carefully, I’m sure you can hear some echoes from my past. But I’m sure that’s true of any composer. You just bring your music along with you.”

                            FORMAT INFORMATION

                            LP includes MP3 Download Code.

                            Dream Police is an American musical production by Nick Chiericozzi and Mark Perro, the founding members of The Men. The project began in 2010 as a reservoir for ideas which had overflowed from The Men's drainpipe. In that same year, a two-song cassette single was self-released, with a follow-up live document in 2011.

                            In the summer of 2013, The Men had just come home from five straight months of touring. For Perro and Chiericozzi, the desire to create was still strong, so they did what they used to do when they first started the band — they started jamming.

                            Although the production began using the most conservative rock n’ roll devices, Chiericozzi suggested adding drum machine to the song “Pouring Rain,” and everything changed. Over the next six months, the two Men and their collaborator Kyle Keays-Hagerman spent countless hours reshaping every song, constructing them from nothing.They obsessed over every tone, every part. They’d spend an entire day on one snare crack.

                            The album slowly plumed into a cloud of future primitive psychedelia bursting with glimmering electronics and cinematic, vibrato storytelling. The result of that process is Hypnotized: something borne from The Men, but free of it. It was mixed the weekend after Tomorrow's Hits was released, and then Perro and Chiericozzi were off again.

                            Dream Police is not a side project, rather a new realization for the original brains behind The Men's psychedelic & sonically stimulating vision.


                            For their third full-length for Sacred Bones, Cult of Youth have delved deeper into their style of punk-influenced psychedelic neofolk and created a self-described “post-industrial Pet Sounds.” Using acoustic and electronic instruments, found sounds and an extensive tribal rhythm section, Cult of Youth have put it all out on the table and left us with their magnum opus.
                            The band has returned with a renewed sense of enthusiasm and an all-new lineup. Sean Ragon, once the project’s lone member, is now flanked by Jasper McGandy on bass and Christian Kount on electric guitar (both of whom were members of seminal Sacred Bones band The Hunt). Cory Flannigan on drums and Paige Flash on cello complete the five-piece. The end result is Cult of Youth as they were always meant to sound.

                            The contributions of the new members are evident on every track on Final Days, from the anthemic “Empty Faction” to the gorgeous album closer “Roses.” Final Days is the culmination of everything Cult of Youth has been moving towards the past seven years — post-industrial, post-punk, and post-enlightenment.

                            Addendum: Real human bones were used on this recording and a portion of the lyrics were written in jail.


                            Four days before New York noise musician Margaret Chardiet was supposed leave for her first European tour as Pharmakon, she had a medical emergency which resulted in a major surgery. Suddenly, instead of getting on a plane, she was bedridden for three weeks, missing an organ.

                            “After seeing internal photographs taken during the surgery, I became hyperaware of the complex network of systems just beneath the skin, any of which were liable to fail or falter at any time,” Chardiet said. “It all happened so fast and unexpectedly that my mind took a while to catch up to the reality of my recovery. I felt a widening divide between my physical and mental self. It was as though my body had betrayed me, acting as a separate entity from my consciousness.”

                            Consumed by these ideas, and unable to leave her bed, Chardiet occupied herself by writing the lyrics and music that would become Bestial Burden, the second Pharmakon LP for Sacred Bones Records. The record is a harrowing collection of deeply personal industrial noise tracks, each one brimming with struggle and weighted with the intensity of Chardiet’s internal conflict.

                            Bestial Burden was recorded at Heaven Street Records in Brooklyn, N.Y. with Sean Ragon (Cult of Youth, Venerence), who also recorded 2013’s critically acclaimed Abandon. Ragon allowed Chardiet to experiment with a mix of live recording and tracking, and some of the vocals were recorded live with a small group of people packed into the studio so she could feed off their energy. The result of those sessions is the bar-raising follow-up to Abandon, and an invitation to go even deeper into the sometimes terrifying, always fascinating labyrinth that is Margaret Chardiet’s mind.

                            Sacred Bones Records is proud to present International, The third full length LP from Copenhagen's Lust For Youth. To put it bluntly, International is unrecognizable as a Lust For Youth record on first listen. Hannes Norrvide’s previous solo albums under the Lust for Youth moniker have been described as “dark, cold, atonal, tormented, lonely, and lower than lo-fi.” The approach on International has shifted dramatically. Writing as a three-piece now, with longtime live collaborator Loke Rahbek and new band member Malthe Fisher, who produces and plays guitar, LFY have entered a completely new territory. The result is stunning. International is a buoyant synth masterpiece in the vein of early Depeche Mode, Pet Shop Boys and New Order. Norrvide’s work has always had pop sensibilities buried deep in the reverb, but the hooks are front and center on International, and there is nothing lo-fi about it.

                            That is not to say the record is without substance. There are still some deeply introspective moments as well, notably the instrumental passages “Ultras” and “Basorexia,” which evoke the morning-after loneliness that a lot of earlier Lust For Youth work has explored. According to Rahbek, “the record sort of happened by chance. Hannes and I had talked about recording some stuff together for the fun of it, and Malthe offered to help us record. Initially, we were just going to do a song or two, but within a few weeks it was obvious that it was a combination that worked. The period was strange, terrible things happened in everyone’s life outside of the studio, so as a result many hours were spent in the studio, like a safe zone.”

                            “As the title indicates,” Rahbek adds, “the record deals with the rootless, sometimes almost inhuman, nature of traveling and touring. Hotel rooms and strangers’ beds, drugs and clubs, and the impossibility of living a regular life.” It may be an irregular life, but nothing could suit them better. International is Norrvide’s magnum opus, and with Fisher’s production and Rahbek’s co-writing skills, the potential this band has always shown has been fully realized. The album features additional production by Elias Bender Rønnenfelt of Iceage as well as Adrian Toubro of Lower

                            David Lynch

                            The Air Is On Fire - Vinyl Edition

                              THIS IS A RECORD STORE DAY 2014 EXCLUSIVE, LIMITED TO ONE PER PERSON.

                              In early 2007, David Lynch was the subject of a retrospective art exhibition at Paris' Fondation Cartier pour l'art contemporain. Evocatively titled The Air is on Fire, it was notable for being the first major comprehensive exhibition of the avant-garde director's paintings, photographs and drawings. It wasn't strictly a visual affair; throughout the entire gallery's two floors and four rooms, a pervasive, interactive soundscape escorted viewers through the work. That soundscape, which shares the name of the exhibition, was composed by Lynch and his collaborator, Dean Hurley, and it's being issued for the first time on vinyl by Sacred Bones Records as a special Record Store Day release.

                              Immer Etwas is the first full length release from this one man bedroom recording project turned full on 5-piece live band. Nice Face have been turning out singles, comp tracks, and cassettes at a steady clip over the past two years and change. This LP is a solid thirteen tracks of drum-machine driven blown out hook-laden punk rock that one reviewer prone to curmudgeonly ranting proclaimed 'locks Blank Dogs in the pound, erases 'Psychedelic' from Psychedelic Horseshit, makes purses and boots out of Crocodiles, and, oh I don’t know…makes a puddle out of Wavves?' We think that is the cheesiest sentence ever written, even though it was intended as a compliment. Live the band now counts members of Livefastdie and Imaginary Icons among its ranks.

                              STAFF COMMENTS

                              Darryl says: Wild, electro-garage-rock. A mutant cross of Cabaret Voltaire and The Gories, totally recommended!!

                              FORMAT INFORMATION

                              CD Info: The CD includes the two Sacred Bones singles, the HoZac single, and the song from Killer Diller Records' Wild About Jenkem comp.

                              Sacred Bones present "The Spoils" from Zola Jesus. Hailing from the unsuspecting locale of Madison, WI, Zola Jesus—the alter ego of Nika Roza Danilova—occupy a sphere of sparse industrial rhythms, no-fi drones, and ethereal femme vocals. Those who have seen her handful of live shows, heard her WFMU set, or caught any of the acclaimed, sought after, and now mostly out of print releases on Die Stasi or Troubleman Unlimited already know. For those uninitiated "The Spoils" may be the most fully realized representation of her sound. Zola Jesus have two previous releases on Sacred Bones, the "Souer Sewer" single and a limited CD of a live performance from WNYU.

                              FORMAT INFORMATION

                              Coloured LP Info: Smoke coloured vinyl.

                              CD Info: The CD contains the entire "Soeur Sewer" 7" as well as the three songs from the Die Stasi single.


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