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THRILL JOCKEY

Tortoise

Tortoise

    As part of Thrill Jockey’s 20th anniversary vinyl reissue campaign the label are proud to bring back on vinyl the very first Tortoise album from 1994.

    Sold out on vinyl for many years, the 1994 selftitled debut from Tortoise is finally back. This 2012 edition has been remastered to vinyl by Roger Seibel at SAE Mastering. The packaging emulates the original with a chipboard jacket that was custom silk-screened by Dan Macadam at Crosshair in Chicago. Also included is an insert and a free download coupon.

    Tortoise’s self-titled debut incorporates many musical styles and influences and combines them into one very distince sound. So distinct that sometime after the release of this record they became recognized as the leaders of a new musical movement.

    Tortoise exploit the recording studio, in that they utilize the recording process as a compostional tool or ‘sixth member’, thus creating a boundless parameter in which to create music.

    Recorded at Idful Studios by John McEntire.

    For this record Tortoise are Douglas McCombs, John Herndon, Dan Bitney, John McEntire and Bundy K Brown.

    Rhyton

    Rhyton

      Rhyton is a band with an organic genesis, born from late night rap sessions at a local Brooklyn watering hole. Heads of certain vibe gathered together to tap into the underlying flux form of transportational music. Dave Shuford (D. Charles Speer, No Neck Blues Band) had been knee deep in research and practice in the realm of middle eastern musics during the recording of his solo LP Arghiledes. From that album, the track “The Heavy Heart of Ando-Yeap” was used as a leaping off point for the gestation of Rhyton. Shuford brought his personal selection of varied string instruments to the table, seeking to create a heavier electric syntax for mandolin, saz and baritone guitar. Jimy SeiTang (Psychic Ills) emerged as a sonic surgeon, creating wave patterns with his bass and pulses of tape delay tales. Spencer Herbst (Messages, Matta Llama) injected his flowing, highly energetic style of percussion and brought in visual conundrums by way of videocassette. An instant near-telepathic bond was established, making improvisations seem like composed forays even to the closest confidants. With variants and heads situated as a point of departure, Rhyton explores the inner workings of the ear and seeks the latent brain bulge within the listener.

      TRACK LISTING

      Stone Colored
      Pontian Grave
      Teké
      Dale Odalíski
      Shank Raids

      Oval

      94diskont

        Oval’s Markus Popp is a true pioneer in the realm of electronic music, one whose influence can still be heard today.

        Oval’s landmark 1995 album ‘94diskont’ took the world of electronic music and turned it on its head and caused Markus Popp to be credited as the creator of what was later dubbed the ‘glitch’ or ‘clicks & cuts’ style.

        Cut to vinyl by Roger Seibel at SAE Mastering, ‘94diskont’ is pressed on virgin vinyl and packaged in a jacket replicating the original. LP1 is the album, LP2 features remixes from Jim O’Rourke, Scanner, Mouse On Mars and Christian Vogel. Free download coupon included.

        “Some of the most serene and aquatic music of the 90s... This record is why Markus Popp was called the new Eno.” - Pitchfork on ‘94diskont’ (Top 100 Albums Of The 1990s)

        Trans Am

        Sex Change

          Following the last album "Liberation", and with two years of separation fuelling them, Trans Am return with the most joyous and upbeat rock album of their chronicle. In June 2006, Trans Am reunited at Mainz, a recording school in Auckland, New Zealand, with a few songs and almost no musical equipment. Recording moved forward with a wide range of borrowed instruments, keyboards and other gear, including a 1960's Mellotron and remarkable vintage amps loaned by iconic New Zealand musician Chris Knox (Tall Dwarfs). Two months later, recording continued in Brooklyn, New York at the Okropolis: headquarters of the New York band Oneida. Determined to make a break with the past Trans Am again arrived with almost none of the signature gear that they had used on previous albums. Two weeks later the album was mixed at Tiny Studios in San Francisco. Compared with previous records such as "Trans Am" and "Liberation", which took months to complete, "Sex Change" was conceived, written, recorded and mixed in only three weeks.

          Trans Am

          Surrender To The Night

            2012 marks 20 years of Thrill Jockey. The label continue celebrating by offering another out of print classic title on vinyl once again.

            1997: Trans Am’s second studio album ‘Surrender To The Night’ is released. Out of print on vinyl for years, Thrill Jockey are happy to finally offer it again.

            Pressed on high quality virgin vinyl, featuring all original artwork and including a download coupon for the first time.

            Trans Am’s homebase moved from Tacoma Park to Washington DC for the recording of this record. Originally titled ‘Rough Justice’, ‘Surrender To The Night’ was recorded at Trans Manor as well as Chicago’s Soma and Idful Studios. John McEntire (Tortoise, The Sea & Cake) assisted in engineering. Trans Am made use of many of the fine keyboards manufactured by the Roland Company and the Casio Computer Company throughout the recording.

            The record shows the band moving forward musically and achieving an even greater balance of rock and electronics.

            Trans Am

            Trans Am

              Trans Am’s self-titled debut arrived under a flurry of speculation. With questions about their hometown, they found themselves the new young darlings of a burgeoning scene. They were three years in and had one 7” to their credit when this debut was released. The record was recorded partly in the basement of Seb’s parents’ house and during a two day marathon session at Idful Studio with John McEntire (Tortoise, The Sea and Cake).

              Maya Shenfeld

              In Free Fall

                Berlin composer Maya Shenfeld’s music is as powerfully evocative as it is strikingly intimate. Through a mastery of sound sculpting and visionary approach to composition Shenfeld has established herself as one of the most vital voices in Berlin’s New Music scene. Her work exists in liminal spaces, collapsing the boundaries between electronic synthesis and organic sound as it draws equally from classical tradition and underground experimentalism. Each aspect of her output, from site-specific sound installations to works for new music ensembles and even playing guitar in punk bands, combines an astute technical prowess with an authentic, tangible expression of soul. Shenfeld’s debut solo record In Free Fall merges the grand vision of orchestral music with the granularity and intimacy of deep listening, exploring a tension between immaculately structured compositional architecture and the sheer joy of noise, grain and feedback.

                In Free Fall, named after Hito Steyerl’s essay, captures Shenfeld’s own feelings of “free fall” both with regards to the current moment, and to her growth as a composer. Trained as a classical guitarist, Shenfeld’s relocation to Berlin to study composition sparked a drastic expansion of her horizons and practice. Diving headfirst into the city’s punk and experimental music scenes, the composer found herself shuttling, literally and figuratively, between disparate musical worlds; from the grand Konzerthaus Berlin to hole-in-the-wall Indie venues. In Free Fall reconciles Shenfeld’s classical training with her uncompromising spirit, resulting in beautiful iridescent constellations of sound.

                The physical nature of sound is central to Shenfeld’s work. She elaborates: “music can seemingly stretch, bend, and even break time, its ability to touch something in you, emotionally, and the fact that it’s a resolutely physical experience.” From tracks that collapse the boundaries between organic and digital instruments, where tape loops and sine wave inseparable from live brass from Kelly O’Donohue to a collaboration with James Ginzburg (Emptyset) taking Shenfeld’s commission for Bethanien Youth Choir, recorded at an abandoned 1902 swimming pool and manipulated into expansive ambient atmospheres. In Free Fall’s use of space and dynamics captures the distinctly three-dimensional nature of Shenfeld’s live performances and sonic installations.

                In Free Fall is a decisive statement from a crucial new voice in contemporary music, challenging traditional structures and narratives. Returning to the essay that gives the album its name, Steyerl’s description of “free fall” equally speaks to the wonderful sensation and innovation of Shenfeld’s music: “The horizon quivers in a maze of collapsing lines and you may lose any sense of above and below, of before and after, of yourself and your boundaries. [...] with the loss of horizon also comes the departure of a stable paradigm of orientation, which has situated concepts of subject and object, of time and space, throughout modernity. In falling, the lines of the horizon shatter, twirl around, and superimpose.”

                TRACK LISTING

                1. Cataphora
                2. Body, Electric
                3. Voyager
                4. Mountain Larkspur
                5. Silver
                6. Sadder Than Water
                7. Anaphora

                The Body & BIG/BRAVE

                Leaving None But Small Birds

                  The Body and BIG|BRAVE are both bands possessed with an unequalled ability to convey overwhelming weight with simplicity, repetition and detailed sonic atmospheres; artists who continue to alter the definition of what it means to be a heavy band.

                  The Body are consistently prolific while increasingly ambitious as untethered producers and collaborators. BIG|BRAVE shape sound with dense waves of guitar and feedback, minimalist and hypnotic crashes and emotionally exacting vocal melodies. In collaboration, The Body and BIG|BRAVE shift the gravity of their compositions to woven layers of percussion and unspooling guitars that sprawl through stark frameworks of earthy folk.

                  Their debut collaborative album, ‘Leaving None But Small Birds’ distils the two ensembles’ pioneering approach to heavy music into psalms for the forgotten, threnodies of lost love and odes to vengeance.

                  Recorded, mixed and produced by Seth Manchester at Machines With Magnets (Liturgy, Battles, Mdou Moctar) and mastered by Heba Kadry (Björk, David Bowie).

                  “Emotionally coherent but tricky to categorize. BIG|BRAVE are the sound of the raw unconscious, turned up loud.” - Pitchfork

                  “The Body have become one of the most interesting and difficult to pin down groups in extreme music.” - Rolling Stone

                  TRACK LISTING

                  Blackest Crow
                  Oh Sinner
                  Hard Times
                  Once I Had A Sweetheart
                  Black Is The Colour
                  Polly Gosford
                  Babes In The Woods

                  Bummer

                  Dead Horse

                    Kansas City trio BUMMER mirror the absurdity of modern life with a balance of dark humour, dejected nihilism and righteous fury. Their music spills out in torrents of skull-crushing riffs, gargantuan bass and caustic howls delivered at breakneck speed with gleeful abandon.

                    Following their split 7” with long-time friends The Body, which teased a more focused, lean sound for the group, ‘Dead Horse’ hones BUMMER’s auditory desolation and scathing gaze to laser-point precision.

                    In eleven short vignettes the quartet lay waste to everything in their path, penning a vitriolic overview of life in the American Midwest, a surprising blend of onestar Trip Advisor review and insightful cultural critique.

                    “[BUMMER] puts the ‘power’ in power trio as they play a raw and primal form of aggressive music that splits the difference between ‘Bleach’-era Nirvana and the early, primitive thrash of Slayer. It’s aggressive and inyour- face, but doesn’t skimp on melody, making their songs memorable. So, there is power and a bit of precision to what they do. A whole lot of volume, too.” - New Noise Magazine

                    TRACK LISTING

                    JFK Speedwagon
                    Barn Burner (You Boys Quit Whippin’ Those Whips)
                    I Want To Punch Bruce Springsteen In The Dick
                    E1M1
                    Donkey Punch
                    Juice Pig
                    Kid Spock
                    Quadruple ZZ Top
                    False Floor
                    Magic Cruel Bus
                    Rareware

                    Marisa Anderson & William Tyler

                    Lost Futures

                      Guitarists Marisa Anderson and William Tyler distil deeply rooted and varied traditions into distinctive voices all their own. Anderson and Tyler are each unyielding in their desire to extend through those traditions and the confines of ‘guitar music’ to craft music at once intimate and expansive, conversational and transcendent.

                      The duo’s debut collaborative album tethers together their singular voices into unified narratives that glisten, drive and sway. On ‘Lost Futures’, Anderson and Tyler’s guitars dance through lush arrangements and pastoral duets serpentine and reverent. 

                      ‘Lost Futures’ takes its name from writer Mark Fisher’s cultural theory of the loss of potential futures, the hopes and ideals which once felt inevitable but have since been interrupted. Anderson and Tyler’s use of textural drones, rhythmic repetition and harmonic shifts embody the building tensions of uncertainty created by profound loss: loss of life, experience, companionship, compassion. Across ‘Lost Futures’, Anderson and Tyler mold their instruments into breathtaking panoramas of blight and bliss. Each movement contains a dense biome of transportive sound. 

                      The duo’s music together reckons with mounting pressures as well as the joy of newfound friendship and gratitude for being able to play together. In tandem, Marisa Anderson and William Tyler have composed a work of remarkable breadth, brimming with resplendent odes of solace.

                      Marisa Anderson and William Tyler are both prolific solo artists. Tyler has also toured with groups including Lambchop and Silver Jews and Marisa has contributed to recordings by Beth Ditto, Sharon Van Etten and Circuit Des Yeux among others. 

                      ‘Lost Futures’ features guests Gisela Rodriguez Fernandez on violin and Patricia Vázquez Gómez playing quijada.

                      Package features artwork by Sam Smith. LPs include artworked inner-sleeve featuring photography by Marisa Anderson.

                      STAFF COMMENTS

                      Barry says: Both Marisa Anderson and William Tyler have impeccable form for crafting gorgeous acoustic guitar anthems, ranging from the beautiful simplicity of Anderson's plucked acoustic to Tyler's country-tinged Americana anthems, so I really couldn't imagine a better combination than the two of them. It works perfectly here with each artist's own voice coming through wonderfully while accentuating each-other perfectly.

                      TRACK LISTING

                      1. News About Heaven
                      2. Lost Futures
                      3. Pray For Rain
                      4. Something Will Come
                      5. At The Edge Of The World
                      6. Hurricane Light
                      7. Life And Casualty
                      8. Haunted By Water

                      Rose City Band

                      Earth Trip

                        Rose City Band is celebrated guitarist Ripley Johnson. A prolific songwriter, Johnson started Rose City Band to have an outlet to explore songwriting styles apart from Wooden Shjips and Moon Duo, where he is often not the lead songwriter. Rose City Band allowed him to follow his musical muses as they greet him and not be bound by the schedule of bandmates and demands of a touring group. Stepping out from behind the psychedelic haze that envelops his other output, Rose City Band’s lean yet richly textured arrangements lay bare the beauty of his songcraft. On Earth Trip, Johnson reveals more of himself than ever before, coloring the project’s country-rock twang with a melancholic, wistful undertone. It charts a journey of personal growth and introspection with surprising honesty, from pining for summers spent with friends to meditations on space, stillness and the splendor of the natural world. It continues Rose City Band’s celebration of summer warmth and the great outdoors, seen from a new vantage point, and with newfound appreciation for the freedom and joy that nature provides.

                        Earth Trip was written during a period of sudden shocks and drastic lifestyle changes for Johnson. Forced to cancel extensive touring plans for 2020, the guitarist found himself home for an extended period for the first time in years. No longer in constant motion, he was able to experience and enjoy the simple pleasures of home life, of being in one place: hikes in nature, bathing outside, and waking with the dawn. Forming new connections to his surroundings, from tending to a garden to sleeping out under the stars, Johnson found hope and healing in a more mindful relationship with the natural world.

                        Themes of recalibration and finding personal space are equally mirrored in Earth Trip’s lean production. Recorded at his home studio in Portland and mixed by Cooper Crain (Bitchin’ Bajas, Cave), Johnson makes deft use of space while experimenting with new sonics. Shimmering pedal steel, woozy harmonica melodies, and stately piano enhance the album’s introspective tone without ever clouding arrangements. Psychedelic elements that nod to Johnson’s other projects and influences still appear throughout, but hover at the edge of perception, a subtle halo adding colour and texture to Johnson’s songwriting rather than taking centrer-stage. He elaborates: “I told Cooper I was trying to capture that feeling when you take psychedelics and they just start coming on - maybe objects start buzzing in the edges of your vision, you start seeing slight trails, maybe the characteristics of sound change subtly. But you’re not fully tripping yet. He got the idea right away and his mix really captures that feeling.” Johnson’s lithe guitar playing throughout treads a fine line between country and cosmic, taut melodies spiralling out into long reverb trails or free-form solos buoyed by a breeze, radiating summer warmth.

                        Through its daring honesty and masteful arrangements, Earth Trip cements Johnson’s place as a singular songwriter of inimitable skill. It’s message of mindfulness and our interconnectedness to the environment expands on a long country and blues music tradition that draws a symbiotic relationship between storyteller and the land, capturing the beauty of the natural world while also emphasising our responsibility in preserving it for future generations.

                        STAFF COMMENTS

                        Barry says: Rose city band go full country! Slide guitars, lap steel and tasteful reverb coalesce into a brilliantly evocative and wonderfully produced distillation of that Rose City sound into a country shell. It's a testament to Ripley Johnson's skill that his sound can be so successfully transplanted into a different shell while retaining everything that made him so great in the first place. Lovely stuff.

                        TRACK LISTING

                        1. Silver Roses
                        2. In The Rain
                        3. World Is Turning
                        4. Feel Of Love
                        5. Lonely Places
                        6. Ramblin’ With The Day
                        7. Rabbit
                        8. Dawn Patrol

                        Kid Millions And Jan St. Werner

                        Imperium Droop

                          Jan St. Werner is one-half of legendary electronic duo Mouse On Mars. Werner records music as well under the name Lithops and has released records with Oval’s Markus Popp as Microstoria. Jan has collaborated with a wide range of artists from Mark E Smith and Stereolab to The National.

                          Kid Millions, aka John Colpitts, is a prolific drummer, known for his work in Oneida and frequently performs with Laurie Anderson and Marnie Stern. Colpitt’s past collaborations include Philip Glass, Royal Trux, Boredoms, White Hills and Spiritualized. Under the moniker Man Forever, Colpitts collaborated with acclaimed groups So Percussion, Greg Fox, Tigue, Yo La Tengo and more.

                          Together, the works on ‘Imperium Droop’ are a joyful listen and an exhilarating foray into the unknown; Kid Millions’ (John Colpitts) tireless rhythms and subtle gestures mirror Jan St. Werner’s boundless textural palette and together drive each piece towards transcendence. Exploring a liminal space between improvisation and composition, the duo expand their musical dialogue beyond the physical limitations of space and time.

                          LP is available on opaque purple with white coloured vinyl with art by Frieda Luczak, whose designs have been featured on many classic Mouse on Mars albums.

                          “Kid Millions has become a ubiquitous force in a constantly changing scene.” - New York Times

                          “Mouse on Mars have never let their concepts eclipse the music; part of the pleasure of the duo’s output is its very inscrutability... the sounds beckon in their mystery.” - Pitchfork

                          “Mutant, microtonal... [Jan St. Werner] explores one area of sound with great intensity and nuance” - Uncut

                          “Experimental percussion genius” - Village Voice on Kid Millions

                          TRACK LISTING

                          Color Bagpipes
                          Apotropaic
                          Laffen’ Death
                          Hexaco Inversion
                          Dark Tetrad
                          Astral Stare
                          Nuclei Melodies
                          Sorrows And
                          Compensations

                          Colleen

                          The Tunnel And The Clearing

                            Colleen is an aboundingly inventive composer and artist. For two decades Cécile Schott, as Colleen, has crafted welcoming, enchanting, and bewildering music. The multiinstrumentalist and vocalist’s timeless compositions make use of carefully selected tools to mold memories into transcendent splendor. The Tunnel and the Clearing finds Schott at her most vulnerable and confident, invoking contemplative and swirling organ processed through analog electronics, steady drum machine syncopations and her distinctive voice. On an album centered on processing the complicated washes of emotion through tribulations and revelations Colleen presents a vision of breathless clarity.

                            The Tunnel and the Clearing was developed over a period of transformative change. Colleen began work on the album in 2018 but was all but halted by extreme fatigue from a previously undiagnosed illness. Years of treatment and adjustment eventually led to relocating to Barcelona, soon followed by lockdowns and then the dissolution of her longtime partnership. Reflecting on these cumulative experiences she reimagined her compositional practices, spending months in near complete silence. Says Schott, “Never before had I felt so profoundly the power that music has, through harmony, melody, rhythm and sound itself, to express the whole range of human emotions.” The resulting seven pieces investigate the complex, at times contradictory relationship between excitement and fear, anger and understanding, struggle and triumph, all focused on a reconstruction of the self.

                            Colleen’s albums are unified by distinct and personal instrumentation, built around music boxes, viola da gamba, or electronics, they somehow all remarkably share a dreamlike modern quality. For The Tunnel and the Clearing Schott restricted herself to using analog electronic instruments including the Elka Drummer One, the Roland RE-201 Space Echo and Moog Grandmother synth, coupled with Yamaha organ keyboard. Stunningly, Colleen achieves the rich emotional intricacy and the lush density of textures on The Tunnel and the Clearing through almost entirely live performance and processing. These detailed and affecting compositions mirror Colleen’s grappling with her own psyche. Schott elaborates “I found direct correspondences between my internal discourse, its obsessive, frantic attempts at making sense of what I could not understand, and the music I was making, with motifs functioning as questions and answers, doubts and assertions.” Clicks, hums, warbles and throbs emulating our evolving internal worlds, an “emotional noise.” A musical journey through the tunnel toward the clearing at its end. The Tunnel and the Clearing is a work of lucid reverence, a constellation of marvels suspended in air.

                            STAFF COMMENTS

                            Barry says: A beautifully produced juxtaposition of Space Lady-esque echoing vocal shards and slowly pulled organ swells, flickering drum machines and psychedelic reverb, 'The Tunnel..' is both brilliantly propulsive and warmingly lysergic, ending up somewhere between an arm-waving midday festival slot and loose, chillout room ambience. Really lovely stuff.

                            TRACK LISTING

                            1. The Crossing
                            2. Revelation
                            3. Implosion-Explosion
                            4. The Tunnel And The Clearing
                            5. Gazing At Taurus - Santa Eulalia
                            6. Gazing At Taurus - Night Sky Rumba
                            7. Hidden In The Current

                            Mouse On Mars

                            AAI

                              Mouse on Mars, the Berlin-based duo of Jan St. Werner and Andi Toma, approach electronic music with an inexhaustible curiosity and unparalleled ingenuity. ‘AAI’ (Anarchic Artificial Intelligence) takes their fascination with technology and undogmatic exploration a quantum leap further.

                              Emerging from a primordial ooze of rolling bass and skittering electronics, hypnotic polyrhythms and pulsing synthesizers propel the listener across the record’s expanse. Hidden in the duo’s hyper-detailed productions is a kind of meta-narrative.

                              Working with AI tech collective Birds on Mars and former Soundcloud programmers Ranny Keddo and Derrek Kindle, the duo collaborated on the creation of bespoke software capable of modelling speech; text and voice from writer and scholar of African Studies Louis Chude-Sokei and DJ/producer Yağmur Uçkunkaya were fed into the software as a model, allowing Toma and Werner to control parameters like speed or mood, thereby creating a kind of speech instrument they could control and play as they would a synthesizer.

                              The album’s narrative is quite literally mirrored in the music - the sound of an artificial intelligence growing, learning and speaking. This exploration of artificial intelligence as both a narrative framework and compositional tool, allowing the duo to summon their most explicitly science-fiction work to date.

                              Original artwork by Casey Reas, inventor of the computer graphics language Processing.

                              Recently, Mouse on Mars received the 2020 Holger Czukay Prize for Pop Music.

                              Mouse on Mars have been regularly streaming performances throughout 2020, partnering with organizations like Goethe-Institut, Haus der Kulturen der Welt, Conditions of a Necessity and others and will continue these in 2021.

                              TRACK LISTING

                              Engineering Systems
                              The Latent Space
                              Speech And Ambulation
                              Thousand To One
                              Walking And Talking
                              Youmachine
                              Doublekeyrock
                              Machine Rights
                              Go Tick
                              The Fear Of Machines
                              Artificial Authentic
                              Machine Perspective
                              Cut That Fishernet
                              Tools Use Tools
                              Loose Tools
                              Seven Months
                              Paymig
                              Borrow Signs
                              New Definitions
                              New Life Always Announces Itself Through Sound

                              Plankton Wat

                              Future Times

                                As Plankton Wat, Dewey Mahood uses his considerable guitar prowess to deliver an album that encompasses both the wild, seeking energy of free-improvisation and the deliberate arrangements of more traditional composition.

                                With his deft and stylistically varied playing, Plankton Wat’s ‘Future Times’ escapes psychedelic tropes and chemical fuelled alterations and instead celebrates an escape into the natural world.

                                ‘Future Times’ taps into psychedelia’s counter-cultural heritage as music for protest, liberation and imagining new ways of being in this world.

                                “Pastoral drones and swirling psychedelia” - Pitchfork

                                Known for his guitar prowess in modern psychedelic music, specifically with Eternal Tapestry as well as Edibles, Elephant Factory Galaxy Research and Gärden Söund among others.

                                ‘Future Times’ was recorded at Mahood’s home studio Solar Commune, with additions from Dustin Dybvig (Horse Feathers & Edibles) and Victor Nash (Flash Hawk Parlor Ensemble). Features Ash Dybvig on flute.

                                TRACK LISTING

                                The Burning World
                                Nightfall
                                Modern Ruins
                                Dark Cities
                                Teenage Daydream
                                Sanctuary
                                Future Times
                                Defund The Police
                                Wind Mountain

                                The Body

                                I've Seen All I Need To See

                                  Over the course of two decades The Body - Lee Buford and Chip King - have consistently challenged assumptions and defied categorization, redefining what it means to be a heavy band.

                                  On ‘I’ve Seen All I Need To See’, they test the boundaries of the studio to explore the extremes and microtonality of distortion to find its maximal impact.

                                  Their most incisively bleak album to date, a towering monolith of noise, Buford’s booming, resolute drums paired with King’s obliterated guitar and howl.

                                  Course, bristling distortion contorts every instrument, with samples of spoken word, cymbals, toms and King’s already noxious tone emerging from layers of feedback.

                                  Features guests Ben Eberle (Sandworm) and Chrissy Wolpert (Assembly of Light Choir).  Recorded with long time engineer Seth Manchester at Machines with Magnets (Lightning Bolt, Battles, Daughters) and mastered by Matt Colton (Sumac, Brian Eno, Uniform, Sunn O)))).

                                  The Body have collaborated with many, including Full Of Hell, Thou, Uniform and Bummer.

                                  “The distortion has this ability to envelope you, and not push you away. It has this strange kind of beautiful timbre... once you give into the sheer power of it, and let it take you on a ride then it becomes this whole other kind of sonic experience.” - Matt Colton

                                  TRACK LISTING

                                  A Lament
                                  Tied Up And Locked In
                                  Eschatological Imperative
                                  A Pain Of Knowing
                                  The City Is Shelled
                                  They Are Coming
                                  The Handle/The Blade
                                  Path Of Failure

                                  John Bence

                                  Love

                                    John Bence uses music to probe the deepest recesses of the human psyche. Over a handful of releases the composer has already built up a striking body of work bound by an incredible clarity of vision. His elegiac works occupy an omnivorous sound-world, assimilating elements of British avant-garde and electronic music, classical, traditional and sacred medieval song into cavernous, sepulchral compositions.

                                    Early releases for Nicholas Jaar’s Other People imprint and Yves Tumor’s label Grooming were engulfed in overwhelming emotion. Struggles with alcoholism and addiction found their outlet in brooding chamber atmospheres and caustic eruptions of choral aggression on the macabre ‘Kill’ EP.

                                    ‘Love’ forms the final chapter in a trio of works with ‘Kill’ and ‘Disquiet’ that chart Bence’s experiences with addiction and his subsequent journey to recovery. Returning to his first love, the piano, Bence explores the instrument’s deeply emotional qualities in ten movements.

                                    ‘Love’s stark minimalism and raw production reflect the composer's personal struggles with striking honesty, searching for the deeper meaning in human suffering.

                                    TRACK LISTING

                                    Intermittent Moon
                                    Dawn
                                    Sleeping Under The Sky
                                    Dark Wind
                                    Thekla Kiss
                                    Virginity
                                    Walk
                                    Church Doors
                                    Love
                                    Surrender

                                    Black To Comm

                                    Oocyte Oil & Stolen Androgens

                                      The music of Black To Comm is as powerfully intoxicating as it is subtly unnerving. The solo project of shapeshifting German producer and sound artist Marc Richter, his mastery of sonic manipulation is matched only by his astounding clarity of vision.

                                      Following the acclaimed ‘Seven Horses For Seven Kings’ released just a year ago, ‘Oocyte Oil & Stolen Androgens’ applies Richter’s wild imagination to an exploration of the human voice, standing as some of his most immediate and affecting music to date.

                                      Each of his phantasmagoric works is meticulously constructed from an omnivorous array of smudged samples and other sonic detritus, painstakingly collected by Richter from across the history of recorded music or his immediate environment and altered into beguiling new shapes. Sound sources seem tantalizingly familiar and yet often just out of reach, flickering at the edges of the subconscious.

                                      TRACK LISTING

                                      Gustav Metzger As Erwin Piscator, Gera, January 1915
                                      Stolen Androgens
                                      Oocyte Oil
                                      Gepackte Zeit (für Hanne Darboven)
                                      Rataplan, Rataplan, Rataplan (Arms And Legs Flying In The Air)

                                      Holy Sons

                                      Raw And Disfigured

                                        The music of Emil Amos is at once intimate and expansive. Under the name Holy Sons, as well as with bands Om, Grails and Lilacs and Champagne, Amos harnesses boundless sonic textures to embellish delicately crafted songs, he plays the bulk of the instruments and sings the majority of the vocals throughout the album and is joined on a few pieces by drummer Steve Shelley (Sonic Youth).

                                        His music balances cues from classic and indie rock traditions with tenderness and sense of foreboding through unparalleled artistry. Holy Sons’ ‘Raw and Disfigured’ showcases Amos’ mastery of songcraft through a seemingly impossible combination of subtle yet potent gestures, bold arrangements and resolute vulnerability.

                                        Recorded at Sonic Youth’s studio Echo Canyon West, ‘Raw and Disfigured’ stands as Amos’ most ambitious and comprehensive album yet, a panoramic gallery of songs as beautiful as they are crushing.

                                        TRACK LISTING

                                        The Loser That Always Wins
                                        Lady Of The Hour
                                        Cast Bound King
                                        Hand That Feeds
                                        Permanent Things
                                        Four Walls
                                        Held The Hand
                                        Lost In The Fire
                                        Transformation
                                        Slow To Run
                                        Reach Out And Touch Something
                                        Cóiste Bodhar
                                        Nights Like This
                                        Up On That Hill
                                        Backslider’s Wine
                                        Bloody Strings

                                        Rose City Band

                                        Summerlong

                                          It is impossible to talk about modern psychedelic music without mentioning Ripley Johnson. As bandleader of Wooden Shjips and half of Moon Duo, Johnson has continually charted new cosmic paths that expand on the language of the genre. With Rose City Band, Johnson’s songwriting and beautiful guitar lines take center stage. While his vocal treatment would be recognizable to any Wooden Shjips fan, the sparseness of the instrumentation lays bare the beauty of his writing. Shimmering guitar lines are free to shine, buoyed by driving rhythms. New to the mix are arrangements and instruments drawn directly from classic country, resulting in songs with more than a hint of twang. Buoyant and joyous, Summerlong is a captivating listen that leaves the listener yearning for more. The record is an ode to freedom, born of a musician stepping out of all routines and whose own liberation is communicated so completely in his music. Summerlong is a record that, taken in its entirety, is an emphatic statement on the songwriting power of Ripley Johnson. Johnson’s joy in every aspect of this album is delightfully infectious.

                                          Rose City Band started purely as a recording project, with Johnson’s role mostly obscured for the self-titled debut album. Released with no promotion, in the style of private press records, it was a liberating, a focus on music without any expectations. With a chuckle, Johnson elaborates, “I always would threaten to my friends that I’m gonna start a country rock band so I can retire and just play down at the pub every Thursday night during happy hour. I love being able to tour and travel, but I also like the idea of having a local band … more of a social music experience.” Freedom from expectation and obligation gave Johnson the space to experiment. The introduction of lap steel, mandolin, and jaw harp enhance Johnson’s lean guitar work with radiant overtones, placing Summerlong more overtly within the country tradition than its predecessor. Work on the album began at Johnson’s home studio in Portland during the summer, but, interrupted by touring, was not be finished until winter. The dark isolation of winter and the pining for summer’s easier days can be felt in the album’s few quieter moments. Summerlong was mixed by John McEntire (Stereolab, Broken Social Scene, Tortoise) at his newly minted Portland Soma Studios and mastered by Amy Dragon at Telegraph Mastering, also based in Portland.

                                          The aptly named Summerlong, born of Johnson’s own fondness for the season, delivers an emotional lift—an expression akin to the joy of getting out there on a warm day, be it gathering for a BBQ, hopping onto a bike, leaping into a swimming hole, or simply reading in a park.

                                          STAFF COMMENTS

                                          Barry says: Ripley Johnson once again brings the good stuff for his second album under this moniker. Swooning guitars and hazy atmospheric ambience underpin the solid backdrop of Ripley's sweet vocal delivery and syrupy, languid melodies. It's an enchanting and evocative collection, and one that continues the (very high) reputation set by last years' eponymous debut.

                                          TRACK LISTING

                                          1. Only Lonely
                                          2. Empty Bottles
                                          3. Real Long Gone
                                          4. Floating Out
                                          5. Morning Light
                                          6. Reno Shuffle
                                          7. Wee Hours >
                                          8. Wildflowers

                                          Jim White And Marisa Anderson

                                          The Quickening

                                            The Quickening is an improvised work guided by emotional intuition and an ability to spin collective experience into music of potent and boundless beauty.

                                            Jim White and Marisa Anderson instrumental voices’ are unmistakable and spellbindingly lyrical. Anderson unravels global guitar traditions into atmospheres all their own through improvisations and transforming melodic lines. While White implements an array of sticks, brushes, and techniques that imbue each rhythmic percussion passage with its own distinct personality. Together their melodic flourishes cascade and twist upon one another, at times trading conversational exchanges, and at others drifting in unison as if lost in the same train of thought.

                                            White and Anderson share an abounding appetite for musical exploration. White, as a member of Venom P Stinger, Dirty Three, and Xylouris White, is well known for his creative and idiosyncratic drumming. His singular abilities have also led to collaborations with Cat Power, PJ Harvey, and Bill Callahan among others.

                                            Anderson’s prolific output as a solo performer, her mastery of traditional folk and blues forms and her abilities to make them entirely her own has established her as one of the most exciting and forward-thinking guitarists of the last decade.

                                            White and Anderson’s considerable technical skills are used in the most inventive and unconventional manner on their debut duo recording, The Quickening. The duo’ friendship and shared explorative nature inform these warm and daring improvisations. Their remarkable performances take the listener on a journey of exuberant discovery.

                                            The idea of a collaboration developed while on the road together in 2015, Anderson playing solo and White playing with Xylouris white. The Quickening began at the Portland studio Type Foundry in late 2018, where the duo initially agreed to meet and improvise and record. Happy with the recordings, the duo headed to Mexico City and into Estudios Noviembres, a time capsule of a studio from the 70’s that had been largely closed before some young engineers took it over. The “slight disorientation” of working in less familiar environments mirrored their willingness to plunge headfirst into exploring new sonic territory together. Anderson purchased a new nylon string Ramos-Castillo guitar from a Mexican luthier just ahead of recording which leant to the spontaneity of “The Lucky” and “The Quickening”. The duo did not rehearse or perform together prior to the recording sessions; as White puts it, “it’s good to suspend disbelief at this stage of playing.”

                                            TRACK LISTING

                                            Gathering
                                            Unwritten
                                            The Lucky
                                            The Other Christmas
                                            Song
                                            Last Days
                                            Diver
                                            The Quickening
                                            Pallet
                                            18 To 1
                                            November

                                            Eye Flys

                                            Tub Of Lard

                                              In just over a year since their initial inception, Eye Flys have established themselves as a force beyond reckoning. Their debut full-length ‘Tub of Lard’ is stunningly potency full of piss and vinegar, scientific in its ability to pulverize everything in its path. Due in part to the considerable pedigree of the band’s line- up (including members of Full of Hell, Backslider, Triac), the East Coast-based quartet chew through steel-barbed riffs and off-kilter rhythms with exponential force. Their 2019 debut EP ‘Context’ set an early precedent for just how lean and ruthless they can be. On ‘Tub of Lard’, Eye Flys launch that potential into 10 songs of maximum impact that find both raw power and subtlety in their simplicity.

                                              For fans of Unsane, Cherubs, The Melvins.

                                              TRACK LISTING

                                              Tubba Lard
                                              Guillotine
                                              Predator And Prey
                                              Not Ready For Tomorrow
                                              Reality Tunnel
                                              Nice Guy
                                              Chapel Perilous
                                              Extraterrestrial Memoradum
                                              BLS
                                              Perception Is Gamble

                                              Arbouretum

                                              Let It All In

                                                Arbouretum’s mystic folk-rock uses English folk, country blues, Americana and 70s psychedelia as touchpoints in their singular and distinctive sound and they’ve perfected the craft of storytelling, using a delicate interplay of melodies and prosaic lyrics.‘Let It All’ In is their most accomplished and evocative album yet. Guitarist and vocalist Dave Heumann’s melodies and solos remain a central focus, bolstered by the hypnotic rhythms of bassist Corey Allender and drummer Brian Carey, enhanced by Matthew Pierce’s substantial yet understated keyboard figures. Each song a vivid scene or tale; Heumann’s deep sense of spirituality and command of storytelling through myth and metaphor transports the listener to another world and time. Features guest performances from Mike Kuhl, Hans Chew and Dave

                                                TRACK LISTING

                                                1. How Deep It Goes
                                                2. A Prism In Reverse
                                                3. No Sanctuary Blues
                                                4. Night Theme
                                                5. Headwaters II
                                                6. Buffeted By Wind
                                                7. Let It All In
                                                8. High Water Song

                                                Sightless Pit

                                                Grave Of A Dog

                                                  Sightless Pit may be a new name in heavy music but its members are some of the most groundbreaking artist of the genre. Lee Buford (The Body), Kristin Hayter (Lingua Ignota) and Dylan Walker (Full Of Hell) recorded their debut ‘Grave Of A Dog’ at Machines With Magnets with Seth Manchester (The Body, Lightning Bolt). Fans will recognize immediately Buford’s singular percussion and production, Walker’s venomous howl and Hayter’s virtuosic voice. The three share a bleak vision of existence and a willingness to follow each other into the musical abyss. Sightless Pit are a group of expansive ideas, extensive experience working together and shared vision. Over the course of the eight tracks the trio reflect the extremes and emotional weight of their world view through elegiac dirges, driving beats and explosive crescendos. Together, three strong voices unite to create a work of remarkable clarity of expression of enormous sorrow, futility and, most of all, beauty.

                                                  TRACK LISTING

                                                  Kingscorpse
                                                  Immersion Dispersal
                                                  The Ocean Of Mercy
                                                  Violent Rain
                                                  Drunk On Marrow
                                                  Miles Of Chain
                                                  Whom The Devil Long
                                                  Sought To Strangle
                                                  Love Is Dead, All Love Is
                                                  Dead

                                                  OOIOO

                                                  Nijimusi

                                                    OOIOO is a name that should be familiar to anyone who’s waded into the world of rock - and so should their leader YoshimiO’s. Percussionist and founding member for the Boredoms and Saicobab and a longtime collaborator of Kim Gordon (of Sonic Youth), Susie Ibarra and Robert Lowe, among others.

                                                    It’s no surprise that each OOIOO record has been as energizing and enthralling as the last, which might be the most consistent thing about their eight records - each focus on and offer listeners something new.

                                                    ‘Nijimusi’ was mainly recorded using a conventional rock ensemble of two guitars, bass and drums but often feels more than that, the phrasing and rhythms becoming something new slowly and then all at once. It’s rock but hard to pin down exactly; psychedelic, shimmering distortion, shouts and tight instrumentation giving way to a controlled burn of instrumental breakdowns.

                                                    Founded in 1995, OOIOO continue to wow. After six years without releasing new music internationally they’ve created a new album that goes back to the roots of being a four-piece band.

                                                    OOIOO’s members came together as musicians who move freely between the audible and inaudible, rhythm and non-rhythm, noise and silence. ‘Nijimusi’ can be considered music but it is also a work of art that stimulates the sense of touch and smell, while being atmospheric and ethereal at the same time.

                                                    “A monument to the endless possibilities afforded by an improvisational spirit, but more importantly it highlights Yoshimi and her band’s tireless and ever-evolving voice.” - Pitchfork

                                                    “In the seemingly impenetrable, fantastic murkiness of Japanese experimental psych pop, more often than not, Yoshimi has been a beacon.” - FADER (cover story) 



                                                    TRACK LISTING

                                                    Nijimusi
                                                    Nijimu
                                                    Jibun
                                                    Tisou
                                                    Asozan5
                                                    Bulun
                                                    Walk For “345” Minutes, while Saying “Ah Yeah!” with A “Mountain Book” in One Hand, Until A shower Of Light Pours down
                                                    Kawasemi Ah

                                                    Lightning Bolt

                                                    Sonic Citadel

                                                      For their seventh full length, ‘Sonic Citadel’, Brians Gibson and Chippendale have done the daring, stripping away some of the distortion mask to reveal the naked pop forms as never before.

                                                      Throughout their 25-year history Lightning Bolt have toured the world, performing at Coachella, ATP, Festivals, Pitchfork Music Festival, Austin Psych Fest and FYF Fest, to name a few.

                                                      Brian Chippendale has collaborated with Björk, Boredoms, Andrew W.K. and Lee ‘Scratch’ Perry. Brian’s comics are published with Drawn & Quarterly and Picturebox. Brian is also in Black Pus.

                                                      Brian Gibson’s game Thumper, produced by his own company Drool, was awarded the 2019 Apple Design Award, was on Gamespot, Hardcore Gamer and IDN’s Best Of 2016 lists and won countless other awards.

                                                      STAFF COMMENTS

                                                      Barry says: With the grinding guitars and machinated percussive blasts, Lightning Bolt have always proved an intimating presence. 'Sonic Citadel' sees them embracing more of the rapid-fire punk aesthetic than their more dirgy stoner sludge, and is all the better for the glimmers of melody and old-school thrash-punk fire within.

                                                      TRACK LISTING

                                                      Blow To The Head
                                                      USA Is A Psycho
                                                      Air Conditioning
                                                      Hüsker Dön’t
                                                      Big Banger
                                                      Halloween 3
                                                      Don Henley In The Park
                                                      Tom Thump
                                                      Bouncy House
                                                      All Insane
                                                      Van Halen 2049

                                                      Eye Flys

                                                      Context

                                                        Eye Flys brings together the minds of four musicians known for their work in some of the most extreme, blistering bands today. The quartet was initially started by Full Of Hell guitarist Spencer Hazard and former Backslider drummer Patrick Forrest as an outlet to play aggressive music with equal intensity that would contrast the breakneck speeds of their other projects. After asking Backslider bassist Jake Smith to join on guitar and vocals and Triac’s Kevin Bernsten on bass, Eye Flys’ potential for crafting impossibly heavy songs was solidified.

                                                        Eye Flys’ debut ‘Context’ was written and recorded just a few short months from the band’s inception, drawing on each members’ considerable experience and driven by the excitement of playing in uncharted territory. This is an album of commanding, lean noise rock absolutely brimming with vitriol.

                                                        The direct, raw energy of Eye Flys’ music is simultaneously menacing and intoxicating. Drawing immediate comparisons to bands like Unsane, Cherubs and The Melvins (where they take their name), the quartet’s bludgeoning sound is underpinned by a razor sharp edge. Smith’s vicious lyrics are paralleled by his unrelenting barks with passages like the opening of ‘Weaponize’ literally spat through grinding teeth. Their taut, muscular riffing and pummelling drums lay atop a foundation of deceptively intricate arrangements.

                                                        Eye Flys’ ‘Context’ stands as a testament to its members’ abilities to produce music that is as ferocious as it is addictive. In just six songs Eye Flys not only prove their place among their peers but stand out as a force of sheer, immovable power.

                                                        TRACK LISTING

                                                        Stems
                                                        Dosed
                                                        Crushing Of The Human
                                                        Spirit
                                                        Weaponize
                                                        The Triumph Of Hagbard Celine
                                                        Fuckface

                                                        Umberto

                                                        Helpless Spectator

                                                          Umberto is an artist whose work is distinctly cinematic. Composer Matt Hill’s performances and delicate compositions taken together have the cumulative ability to surprise. Hill, whose Umberto moniker is an homage to director Umberto Lenzi, is an experienced and active film composer, most recently scoring the film ‘All That We Destroy’. In addition to film and commercial work, Umberto has released a number of lauded solo recordings.

                                                          On Umberto’s Thrill Jockey debut ‘Helpless Spectator’, his haunting music is otherworldly and affecting alike, leaving the listener with an unsettling and profound air of mystery. Umberto’s early recordings harken back to classic synth- driven sci-fi and horror soundtracks. ‘Helpless Spectator’ uses synthesizers in an entirely different manner. Cold, looming monolith tones are now warm, softer pads that envelope the listener while guitar, cello, banjo and pedal steel add movement and light. Still, Hill unsettles with his arrangements and melodic phrasing. Unexpected shifts and turns in even the most tender movements of ‘Helpless Spectator’ are inflected with a contemplative melancholy and fragility.

                                                          Umberto makes masterful use of varied textures throughout the album, blending supernatural effects and grounded instruments to create distinct atmospheres. ‘Helpless Spectator’ is inquisitive and moving in equal measure, an album of sombre elegance and delicate arrangements whose cumulative effect of unease is entirely unexpected.

                                                          TRACK LISTING

                                                          Hidden Thoughts
                                                          Leafless Tree
                                                          Spontaneous Possession
                                                          Reflection
                                                          The Higher Room
                                                          Sadness, Happiness,
                                                          Disgust, And Surprise
                                                          Absent Images
                                                          Arroyo

                                                          Sequoyah Murray

                                                          Penalties Of Love

                                                            ‘Penalties Of Love’ is the debut mini album from 21- year-old vocalist, multi-instrumentalist and producer Sequoyah Murray. It is a remarkable debut, striking in its maturity and originality.

                                                            Writing deeply confessional lyrics and creating abstract textured song structures, Sequoyah is a product of his time, place and borderless generation, making music that is both wildly experimental and unforgettably accessible, his lyrics proudly recasting his vulnerabilities as strengths. He was born into a musical family Atlanta, Georgia, one of the music capitals of the world: his mother is a singer and his father a percussionist, both having spent their lives as creative musicians.

                                                            If his first loves were the east African music introduced to him by his father and his mother’s sumptuous falsetto, the booming baritone of Arthur Russell became one of his oldest friends and most important touchstones. Just like Russell, his music is at once a self-created world and the result of deeply organic collaboration.

                                                            While Sequoyah serves as his own producer, he enlisted the help of acclaimed producer and remixer James Ginzburg (Empstyset, Ginz, Bleed Turquoise) and David Corney to mix. His family also contributed, with his father’s drumming throughout and his mother and little brother singing on ‘Penalties Of Love’ and ‘Second Born’ respectively.

                                                            Pressed on virgin vinyl and packaged with free download card.

                                                            TRACK LISTING

                                                            Penalties Of Love
                                                            Haven
                                                            Second Born
                                                            True Fun

                                                            The incomparable duo, Matmos, have done it again! Their new album, Plastic Anniversary, was created using only plastic. Highlighting the crises of convenience, the Duo make music from our refuse. True to form, the band have assembled a promiscuous array of examples of this sturdy-yet-ersatz family of materials: Dominos, Styrofoam coolers, police riot shields, polyethylene waste containers, PVC panpipes, pinpricks of bubble wrap, pills, silicone gel breast implants and most horrifically synthetic human fat. Where did this idea come from? Drew Daniels and M.C, Schmidts own “plastic” anniversary as a couple.

                                                            Matmos glide from the tongue-in-cheek fun of “Breaking Bread” (literally smashing Bread LPs) to Cronenbergian body-horror of “Interior with Billiard Balls & Synthetic Fat.” The album is playful and poppy while conveying a very serious message and on the darker implications of ignoring the havoc we are imposing on the earth all for the sake of convienience

                                                            A super special limited edition set will come with a sculptural album, embedded with plastic bottles, that while is the actual album, is rendered viruatlly unplayable by the pastic floating within. This edition also includes the album on a exclusive multi color mashup vinyl, a t-shirt, and a bonus track, all exclusive to the box. All proceeds from this special edition will benefit The Ocean Cleanup.

                                                            TRACK LISTING

                                                            1. Breaking Bread
                                                            2. The Crying Pill
                                                            3. Interior With Billiard Balls & Synthetic Fat
                                                            4. Extending The Plastisphere To GJ237b
                                                            5. Silicone Gel Implant
                                                            6. Plastic Anniversary
                                                            7. Thermoplastic Riot Shield
                                                            8. Fanfare For Polyethylene Waste Containers
                                                            9. The Singing Tube
                                                            10. Collapse Of The Fourth Kingdom
                                                            11. Plastisphere

                                                            Oozing Wound

                                                            High Anxiety

                                                              Chicago’s Oozing Wound are a mass of contradictions: weed lovers whose music hits you with its breakneck head banging force. The band deal with nihilism, yet remain addictively fun. Their music is equal parts sludge and thrash, noise and riff-loaded rock. High Anxiety is an unabashed mocking of the madness of modern living, its chemical induced adventures and establishment absurdity, deriding the industrial complex behind established institutions such as NASA while savaging those who deny science. Oozing Wound on High Anxiety are nihilistic pied pipers making us laugh our way to the apocalypse. The album finds guitarist and vocalist Zack Weil drummer Kyle Reynolds and bassist Kevin Cribbin blending their ferocious energy, sonic experiments and blunt lyricism for a pummeling enjoyable head-banger with an irresistible sneer.

                                                              On High Anxiety, Oozing Wound’s songs have become more complex, their attacks more ferocious, and bass and guitar lines more captivating. The album was recorded in four days at Steve Albini’s Electrical Audio studio. The trio ripped through live-tracking and overdubs, leaving space to experiment with new sounds and effects. The band, having an affinity for the complexities of prog music, managed to bring prog elements to High Anxiety without sacrificing any of their songs punch. Subtle layers of saxophone, flutes and synths were blended into guitar tones, adding depth and texture without cluttering arrangements. Fist-pumping blasts of whitehot riffing become a Trojan horse for sonic weirdness. The resulting recordings are at once some of their most sonically rich, immediate, and impactful.

                                                              High Anxiety drips with a caustic vitriol that is both riotous and intoxicating

                                                              TRACK LISTING

                                                              1. Surrounded By Fucking Idiots
                                                              2. Filth Chisel
                                                              3. Tween Shitbag
                                                              4. Die On Mars
                                                              5. Birth Of A Flat Earther
                                                              6. Riding The Universe
                                                              7. Vein Ripper

                                                              Elena Setién

                                                              Another Kind Of Revolution

                                                                Elena Setién is an artist defined by her vivid songwriting and nuanced compositions. Her music exudes the bold individualism and sense of empathy associated with her homeland of Spain’s Basque region. Setién is a skilled multi-instrumentalist and performed nearly every part on the record save for a few select guitar parts by Steve Gunn. While Elena’s recordings are decidedly pop, she has considerable experience as an improviser. ‘Another Kind Of Revolution’, Elena Setién’s Thrill Jockey debut, is a work of entrancing, effortless beauty.

                                                                Setién grew up during a period of political upheaval in Spain, in the Basque region. The turmoil of the post-dictatorship period of the 1980s and the intensive civic actions left her with a sense of duty to fight for progress. Her lyrics throughout ‘Another Kind Of Revolution’ describe the beauty of everyday life and nature and promote the forces of change, not as a burden but as the very source of hope to draw from.

                                                                ‘Another Kind Of Revolution’ tells its stories through an expansive sonic palette. Pianos and Wurlitzer take on various timbres for each song, trickling in and out of the foreground with Setién’s distinguished voice gently gliding overtop. Careful attention to specific recording techniques and allowing for the slight imperfections in the instruments and amplifiers, bring a depth to the recordings that is both direct and organic. Elena Setién’s work is elemental and bold. Her music bends simple, familiar sounds and compositional forms into thoroughly unique songs. With ‘Another Kind Of Revolution’, Elena Setién continues to defy convention with songs as gorgeous as they are auspicious.

                                                                TRACK LISTING

                                                                The Wheel That Drives You
                                                                Another Kind Of Revolution
                                                                Window One
                                                                Sail Down The River
                                                                Old Jamie
                                                                Down The Meadow
                                                                Far From The Madding Crowd
                                                                We See You Shining For A While
                                                                Window Two (For Sigurd And Albert)
                                                                She Was So Fair

                                                                Endon

                                                                Boy Meets Girl

                                                                  Endon is a band as mercurial as they are ferocious. Comprised of the quintet of vocalist Taichi Nagura, guitarist Koki Miyabe, drummer Shin Yokota and electronics/noisemakers Taro Aiko and Etsuo Nagura, Endon’s music is contained chaos, bending and colliding genres into one another atop a bed of thunderous distortion, feedback, and unearthly squeals. Vocalist Taichi’s voice embodies an unreal number of personalities with wordless howls seething one moment and agonized cries the next, before desperate gasps for air. It comes as no surprise that they have been credited as the most extreme band in Tokyo.

                                                                  ‘Boy Meets Girl’ was envisioned as a soundtrack to an imagined horror film about love. The core of the ensemble’s song structures are often built around Koki’s fuzz-laden guitar and Shin’s drum bombast which propel torrents of hisses and squelches from Taro and Etsuo. Taichi’s largely lyricless screams, moans and whimpers are potent messengers of the songs’ emotional heft. There lies an ecstatic, excited energy amidst the anarchic defiance Endon's music exudes. Born of the same Japanese scenes that gave rise to the likes of Merzbow and Boredoms, their sound is equally diverse and abrasive. ‘Boy Meets Girl’ demonstrates Endon’s singular faculty to produce music that is at once tortured and transcendent.

                                                                  TRACK LISTING

                                                                  Boy Meets Girl
                                                                  Heart Shaped Brain
                                                                  Born Again
                                                                  Doubts As A Source
                                                                  Love Amnesia
                                                                  Final Acting Out
                                                                  Red Shoes
                                                                  Not For You

                                                                  Through his output both as a sound artist and through his eclectic Dekorder record label, Black To Comm (Marc Richter) has established himself as a singular voice of new music. His Thrill Jockey debut, "Seven Horses For Seven Kings", is Richter’s most direct and visceral to date.

                                                                  A relentless sonic explorer, he approaches the studio as his instrument, using sampling, analogue production and digital manipulation to sculpt audio fragments into surprising new shapes. Samples from Richter’s contemporaries like German composer Nils Frahm are bent and compounded with elements of early recorded music and medieval song, creating pieces that transcend time and genre. Richter blurs the lines between organic instrumentation and digital production to the extent that the two become inseparable.

                                                                  "Seven Horses For Seven Kings" was completed during a particularly prolific period for Richter. Working on a broad range of commissions since his last album - from writing for film and theatre works to composing for art installations, apps and sleep music - generated a flurry of new ideas and influences. Extensive touring would equally come to inform a key shift in Richter’s music, simulating the raw, unpredictable energy of live performances on record. While rhythm has been largely absent from previous Black To Comm releases, here the music seems totally bound to it. The album’s breathtaking pace drives Richter’s music to new levels of intensity.

                                                                  'Black To Comm is... like an abandoned museum of late-Twentieth Century instruments whose exhibits are still running at half power.' - New Yorker


                                                                  STAFF COMMENTS

                                                                  Barry says: Pulsing doom-laiden ambience, rickety industrial echoes and foreboding strings form the backbone to Black To Comm's most evocative and absorbing work to date. Stunning stuff.

                                                                  TRACK LISTING

                                                                  Asphodel Mansions
                                                                  A Miracle No-Mother Child At Your Breast
                                                                  Lethe
                                                                  Ten Tons Of Rain In A Plastic Cup
                                                                  Licking The Fig Tree Threshold
                                                                  Fly On You
                                                                  Double Happiness In Temporal Decoy
                                                                  If Not, Not
                                                                  The Deseret Alphabet
                                                                  Semirechye
                                                                  Rameses II
                                                                  Angel Investor
                                                                  The Courtesan Jigokudayu Sees Herself as A Skeleton In The Mirror Of Hell

                                                                  Jack Rose

                                                                  Luck In The Valley

                                                                    ‘Luck In The Valley’ is the 10th and final album by Jack Rose and is the yardstick by which many contemporary acoustic guitar albums are measured. This 2018 re-issue makes this contemporary classic available again for the first time since 2010.

                                                                    Jack Rose first rose to prominence with the drone/noise/folk unit Pelt. Pelt can be counted among the early influential new music underground bands such as UN, No Neck Blues Band, Charalambides, Tower Recordings and Six Organs Of Admittance. Along with the influences of John Fahey and Robbie Basho, Rose also incorporated North Indian classical, early American blues, bluegrass and minimalism into his singular style.

                                                                    ‘Luck In The Valley’ came right as Rose’s influence was just beginning to take flight but was sadly his last album before his unexpected death in December of 2009. Still, his music and influence, much like his person, bold, hearty and rooted in traditional American music continues to be a source of reference for guitarists and musicians carrying traditional American music into modern times.

                                                                    “Jack Rose, Versatile Master of the Guitar” - New York Times

                                                                    “The energy behind ‘Luck In The Valley’ all emanates from Rose himself: you can almost see his fingers flying across his guitar strings... energy resonates from within his melodies and his songs, giving ‘Luck In The Valley’ a radiance.” - Washington Post

                                                                    “It’s a big, bold work, just the way Rose was a big, bold guy - confident, honest, and forthright.” - Pitchfork

                                                                    “Jack Rose is acoustic music... Without ever singing a word. Jack Rose could communicate in a way few musicians can.” - PopMatters

                                                                    TRACK LISTING

                                                                    Blues For Percy Danforth
                                                                    Lick Mountain Ramble
                                                                    Woodpiles On The Side Of The Road
                                                                    When Tailgate Drops, The Bullshit Stops
                                                                    Moon In The Gutter
                                                                    Luck In The Valley
                                                                    Saint Louis Blues
                                                                    Tree In The Valley
                                                                    Everybody Ought To Pray Sometime
                                                                    West Coast Blues

                                                                    Brendon Anderegg

                                                                    June

                                                                      The music of Brendon Anderegg is a hall of mirrors, multi-layered and self-obscuring. Largely filtered through Mountains - his pioneering electronic project with Koen Holtkamp - Anderegg emerged as a solo artist in the late 90s. He returns now with ‘June’, a vinyl-exclusive release on Thrill Jockey.

                                                                      The music on ‘June’ is a complex network of layers, paradoxically a calm and soothing listen. Collapsing history into its own contemporary sonic movements, Andregg’s methodically created work falls in the lineage of electronic pioneers like Bernard Parmegiani and early ambient projects like Tangerine Dream, Popul Vuh and Cluster and puts his solo work in the realm of New Age figures like Michael Stearns and JD Emmanuel. ‘June’ is a singularly beautiful and challenging work that marks the long overdue re-emergence of Brendon Anderegg as a solo voice.

                                                                      Brendon Anderegg is a Brooklyn-based, Emmynominated composer with clients ranging from Pitchfork to ESPN.

                                                                      Available only on vinyl, ‘June’ is pressed on virgin vinyl and includes a free digital download coupon.

                                                                      Dommengang

                                                                      Love Jail

                                                                        Dommengang, the LA-based power trio of guitarist Dan ‘Sig’ Wilson, bassist Brian Markham and drummer Adam Bulgasem, return with the desert cruiser’s dream album ‘Love Jail’.

                                                                        “The way in which they approach music is refreshing and honest. It is also damn catchy too and you will have a hard time keeping still whilst listening” - Echoes And Dust

                                                                        “Adrenalized motorik rhythms and burly riffage with the sort of panache heard on the better Hawkwind and Guru Guru albums. It’s fuckin’ intense, dude.” - Seattle Stranger

                                                                        “Lean, dirty, hungry” - The Quietus

                                                                        Dommengang have adapted to the arid climates and imbued their particular brand of rock with a heavy dose of the best of 1970’s rock aesthetics.

                                                                        The album was produced by The Fucking Champs guitarist and engineer Tim Green (Joanna Newson, Wolves In The Throne Room, Fresh & Onlys, Earthless), who perfectly captured the band’s sound while creating the space of older analogue recordings.

                                                                        ‘Love Jail’ includes Dommengang’s most melodic and lyric-heavy songs to date - a great road trip record and a dynamic listen that is of the moment, organic and earthy with a heavy nod to the clear, lean recordings of a time long before any of its members were born.

                                                                        TRACK LISTING

                                                                        Pastel City
                                                                        Lovely Place
                                                                        Lone Pine
                                                                        Stealing Miles
                                                                        Love Jail
                                                                        I’m Out Mine
                                                                        Going Down Fast
                                                                        Dave’s Boogie
                                                                        Color Out Of Space
                                                                        Stay Together

                                                                        OOIOO

                                                                        Gold & Green

                                                                          OOIOO’s seminal album ‘Gold & Green’ is finally widely released on vinyl for the first time. Presented as a deluxe double LP in a gatefold jacket with spot metallic ink and full colour inner sleeves featuring glorious artwork. Pressed on virgin vinyl with free digital download coupon.

                                                                          OOIOO have always created a musical language all their own. Under the leadership of Yoshimi, a founding member of Boredoms, the group have recorded six albums that have subverted expectations and warped perceptions of what constitutes pop and experimental music.

                                                                          ‘Gold & Green’ features guest appearances from Sean Lennon, Seiichi Yamamoto (Boredoms) and Yuka Honda (Cibo Matto).

                                                                          OOIOO’s Yoshimi is to release an exhilarating new album this Autumn with her group SAICOBAB, featuring sitarist Yoshida Daikiti, bassist Akita Goldman and percussionist Hama.

                                                                          “‘Challenging’ music doesn’t get more fun than this.” - NPR Music

                                                                          “OOIOO traffic in a crafty kind of post-punk primitivism… the synths, power chords, polyrhythmic drumming and wordless chants building into an irresistible, throbbing whole” - The Wire

                                                                          “An extraordinary band.” - New York Times

                                                                          “OOIOO is tight, lithe and anything but robotic.” - Washington Post

                                                                          TRACK LISTING

                                                                          Moss Trumpeter
                                                                          Á

                                                                          “White Hills have emerged from its deep sheets of psychedelia and smoke machine-cascading haze, glaring lights and all-out noise for a sinister beast of minimalist psych grooves and seductive danceibility.” - Noisey

                                                                          “A prolific band with a restless streak.” - Paste

                                                                          “A staple on the touring circuit where their explosive fusion of psychedelic, space rock, post-punk, krautrock, and ambient experimentation makes their performances feel less like traditional rock shows and more like full body and mind experiences.” - She Shreds Magazine

                                                                          Having continually refined their sound, pushing the boundaries of psychedelic music, White Hills have flipped the script on their new album, ‘Stop Mute Defeat’. Members Dave W. and Ego Sensation have brazenly produced an industrially-charged record that pulsates unlike anything they’ve released before.

                                                                          Mixed by Martin Bisi (Sonic Youth, Brian Eno, Afrika Bambaataa), the album was influenced by dance hall, drug den and bar, the Mudd Club - New York’s legendary haunt in the late 1970’s. Following similar techniques to those propagated by William S. Burroughs (a regular at Mudd Club), ‘Stop Mute Defeat’ sees White Hills break free from the guitar-driven structure of their earlier releases and create sounds that call to mind ‘Xtrmntr’-era Primal Scream or Cabaret Voltaire. Despite the band’s newfound approach, their criticisms of rampant consumerism and the proliferation of post-truth mythology are at their most scathing.

                                                                          STAFF COMMENTS

                                                                          Barry says: Brain-meltingly psychedelic breakdowns, grooving sludgey walls of sound and cosmic synth swells, all accentuated with distorted vocals and churning industrious bass. I loved their album with Manc psych-nutters Gnod, and I love this just as much. You will too.

                                                                          TRACK LISTING

                                                                          Overlord
                                                                          A Trick Of The Mind
                                                                          Importance 101
                                                                          Attack Mode
                                                                          If...1...2
                                                                          Sugar Hill
                                                                          Entertainer
                                                                          Stop Mute Defeat

                                                                          Glenn Jones

                                                                          This Is The Wind That Blows It Out

                                                                            Glenn Jones’ debut album ‘This Is The Wind That Blows It Out’ was originally released in 2004 on CD only by Strange Attractors Audio House. Thrill Jockey are proud to give this timeless classic a first time vinyl issue.

                                                                            Glenn Jones is a master of American Primitive Guitar, a style invented in the late 1950s by John Fahey, whose traditional fingerpicking techniques and wide-ranging influences were used to create modern original compositions.

                                                                            Jones, who led the post-rock ensemble Cul de Sac, brings his own made-up tunings, the use of custom-crafted partial capos, and a highly skilled picking style on both banjo and guitar, to create personal compositions that are lyrical, emotive and elegant. What sets him apart from the myriad guitarists playing today is his ability to tell stories with the guitar and banjo and to convey a range of emotions. This process starts with the compositions themselves and carries through to his selection of recording environment and engineer.

                                                                            ‘This Is The Wind That Blows It Out’ stands the test of time in today’s avant folk movement with Glenn Jones emerging as a clear leader. His pensive sentimentality and playful spirit, not to mention his innovative technique, have become just as ingrained into the style’s DNA as any hallmarks of the original Takoma school.

                                                                            Opening with the title tune, ‘This Is The Wind That Blows It Out’ meanders with heady grace, Delta-delica slide guitar as intoxicating as it is mournful. ‘Fahey’s Car’ bounces and shimmers like some of Peter Lang’s classic Takoma sides and ‘Linden Avenue Stomp’ is an alternate take of an old-timey duet with the late great Jack Rose.

                                                                            Jones turned away from standard tuning years ago, inventing tunings as a way of escaping the known, his 2016 album ‘Fleeting’ gained much critical acclaim and his convivial live performances prove him to be a compelling storyteller as well as an outstanding musician.

                                                                            TRACK LISTING

                                                                            This Is The Wind That Blows Out
                                                                            Sphinx Under Curious Men
                                                                            Friday Nights With
                                                                            Fahey’s Car
                                                                            The Doll Hospital
                                                                            Linden Avenue Stomp
                                                                            Nora’s Leather Jacket
                                                                            One Jack Rose (That I Mean)

                                                                            Oozing Wound are a thrash trio featuring veterans of Chicago’s underground scene who have played with High On Fire, The Body, Ash Borer, Wolf Eyes, Nazoranai and Black Pus, among many others.

                                                                            A horrifying concoction of apathy and malaise wrapped in a delectable sheet of hatred drowned in a bath of contempt.

                                                                            “Oozing Wound are the Chicago trio ripping up the rule book of thrash.” - The Guardian

                                                                            “Chicago trio Oozing Wound play loud, brash and snotty crossover thrash with a penchant for the kind of big, obnoxious riffs that can’t fail to plaster a huge grin across your face.” - Terrorizer

                                                                            “Their songs barrel along like Iron Lung bitch-slapping the first Megadeth album or meaty Testament-like guitar gallops infused with an air of frenetic power violence irreverence.” - Metal Hammer

                                                                            “A whole sweaty, stinking ruck of basement smashing fun” - The Quietus

                                                                            “So refreshingly anti-bullshit are Oozing Wound that they could conceivably turn out to be the Nirvana of thrash.” - Noisey

                                                                            TRACK LISTING

                                                                            Rambo 5 (Pre-Emptive Strike)
                                                                            Diver
                                                                            Deep Space
                                                                            Mercury In Retrograde Virus
                                                                            Weather Tamer
                                                                            Everything Sucks, And My Life Is A Lie
                                                                            Eruptor
                                                                            Tachycardia
                                                                            You Owe Me, Iommi
                                                                            Sky Creep

                                                                            Luke Roberts

                                                                            Sunlit Cross

                                                                            The music made by Luke Roberts is wide in scope and spare in structure. It is as universal as it is personal - if you have to label it, the right stamp to put on it might be ‘redemptive blues’. Roberts’ songs, while deeply personal in origin, touch on universal life experiences and emotions. ‘Sunlit Cross’ is unwaveringly honest and raw, as Roberts gets closer than ever to his true self: a person who looks past the dark truths to see a real light.

                                                                            ‘Sunlit Cross’ features Kurt Vile, Stephen Tanner (Harvey Milk and Music Blues), John Neff (Drive-By Truckers) and Creston Spiers (Harvey Milk).

                                                                            ‘Sunlit Cross’ was recorded at RonnieJone$ound with Kyle Spence (who, in addition to recording tracks for Kurt Vile’s ‘B’lieve I’m Goin Down’, also drums with Vile and Harvey Milk). Spence worked closely with Roberts to make the record sonically richer than ever before.

                                                                            “His appreciation of the spiritual beauty of those classic sounds [Americana and southern blues] has given his music a rich warmth.” - musicOMH

                                                                            “Luke Roberts practices a particular form of bruised, intense country-folk, one that’s both immersive and apocalyptic.” - Stereogum

                                                                            “Luke Roberts is singing about the no-place of everyplace, the desolation we all know” - Pitchfork

                                                                            “His voice is somewhere between Townes Van Zandt and Kurt Vile - young and wise, but with an even-older worldview and simplicity.” - FILTER Magazine

                                                                            “Roberts’ vocals (which contain all the cackle of J Mascis and all the plaintiveness of Townes Van Zandt) are tender and bruised, and… can be legitimately heartbreaking.” - Pitchfork

                                                                            TRACK LISTING

                                                                            Song To Remember
                                                                            American Music
                                                                            Run
                                                                            Virginia Girl
                                                                            Nursery Rhyme
                                                                            Silver Chain
                                                                            Untitled Blues
                                                                            Missing Blues
                                                                            Many Miles
                                                                            Big Chief Cole

                                                                            Entrance

                                                                            Promises

                                                                              ‘Promises’ is Entrance’s debut for Thrill Jockey Records, featuring four astonishingly unforgettable new songs. ‘Promises’ is the introduction to a fresh chapter in the story of Entrance.

                                                                              Entrance is the multi-talented singer-songwriter Guy Blakeslee. An artist’s artist, Entrance is a musician with the blues running through his veins.

                                                                              His newest creations add up to a set of rich, cinematic songs featuring expansive orchestration and imaginative storytelling, as unique to himself as they are, at times, evocative of Townes Van Zandt, Scott Walker and Gene Clark.

                                                                              Among his fans, he counts the likes of Spike Jonze, who featured Entrance’s interpretation of Skip James’ ‘I’m So Glad’ in the film ‘Her’.

                                                                              Players on the EP include Paz Lenchantin (Pixies) and Emily Kokal (Warpaint).

                                                                              Artwork for the EP is by acclaimed LA artist Amanda Charchian and the photos were shot by Edouard Plongeon in Paris.

                                                                              Pressed on virgin vinyl with free download card.

                                                                              “Dilating country-blues songs into distorted Velvet Undergroundinspired drones” - The Guardian

                                                                              TRACK LISTING

                                                                              Promises
                                                                              Answer Within
                                                                              Waking Up
                                                                              Make Believe

                                                                              Grumbling Fur are the UK based duo of Alexander Tucker and Daniel O’Sullivan.

                                                                              Alexander Tucker’s solo releases on Thrill Jockey include ‘Third Mouth’ and ‘Dorwytch’. A prolific artist, his latest graphic novel, the acclaimed ‘World In The Force Field’, is out now via Breakdown Press.

                                                                              Daniel O’Sullivan has been at the core of the wildly successful This Heat reconstitution and with Massimo Pupillo of Zu recently realised Laniakea. As part of Norwegian experimental collective Ulver he released the ‘ATGCLVLSSCAP’ album and later this year there’ll be a new album from Æthenor, his ongoing project with Steve Noble and Stephen O’Malley of Sunn O))).

                                                                              ‘Furfour’ is the band’s second release on Thrill Jockey, with previous releases on Aurora Borealis and Latitudes alongside their last highly successful output on The Quietus Phonographic Corporation.

                                                                              On ‘Furfour’, Grumbling Fur are joined by This Heat’s Charles Bullen and Isobel Sollenberger from Bardo Pond. The band have also recently collaborated with Charlemagne Palestine.

                                                                              ‘Furfour’ gradually emerged over three years of writing and recording at 147 Tower Gardens, the mystical, ivy-shrouded house that Tucker and O’Sullivan once called home.

                                                                              The band’s music is shaped all this are their long-standing shared musical affections, encompassing orchestrated poptones, collage, dub and beatmaking as well as experimental and drone elements - touchtones might include Faust, Arthur Russell, Penguin Cafe Orchestra, Moondog, Michael Nyman, Gate, Syd Barrett, Stereolab, Vibracathedral Orchestra, Ashtray Navigations, CC Hennix and Madlib.

                                                                              TRACK LISTING

                                                                              Strange The Friends
                                                                              Acid Ali Khan
                                                                              Heavy Days
                                                                              Molten Familiar
                                                                              Milky Light
                                                                              Pyewacket’s Palace
                                                                              Perfect Reader
                                                                              Silent Plans / Black Egg
                                                                              Golden Simon
                                                                              Sapien Sapiens
                                                                              Come Down And Watch Them
                                                                              Suneaters

                                                                              Jan St. Werner, the well-respected artist and musician known for his solo compositions, his work with Mouse On Mars and art pieces, has created a beautifully rhythmic, instantly gripping work with his new album ‘Felder’.

                                                                              Werner has created sounds that are listenable and inviting, complex but approachable and, mostly, completely unidentifiable. ‘Felder’ means ‘fields’ in German and here the word refers to conceptual frameworks and subjects and sound fields. Werner mixes organic sounds from French horns and cellos seamlessly with synthesized notes created with one-of-a-kind programs. He builds layers of sound with differing cadences upon one another, creating intricate patterns that connect with each other structurally, rhythmically, semantically and historically. Suggestions of jazz, industrial music, drone and even folk float in and out of the electronic compositions in a seemingly effortless manner; paradoxically, ‘Felder’ was meticulously constructed over the course of four years.

                                                                              “Music that makes you hyper-aware of your place in relation to it and something that removes you from thinking about yourself altogether” - Pitchfork

                                                                              Werner has collaborated with Markus Popp (Oval), Mark E Smith (The Fall), Damo Suzuki (Can), the scientist / writer Oswald Wiener and the theorist Siegfried Zielinksi on pieces that were premiered at the Chicago Symphony, Phiharmonie Cologne, Barbican London, Radialsystem Berlin, HAU Berlin, Akademie der Kunste Berlin and the German public radio stations WDR, SWR, BR, and DLF. Werner has also shown works at Kunstverein Munich, Neue Nationalgalerie Berlin, Museum Abteiberg Monchengladbach, Cubitt Gallery London, Kunsthalle Dusseldorf and Cornerhouse Manchester.

                                                                              In addition Werner has worked with the visual artist Rosa Barba on pieces premiered at London’s Tate Modern, the MIT List Visual Arts Center and the Reina Sofia in Madrid.

                                                                              TRACK LISTING

                                                                              Beardman
                                                                              Kroque AF
                                                                              Osho
                                                                              Foggy Esor Pt. 1
                                                                              The Somewhere That Is Moving
                                                                              Slipped Through Heaven
                                                                              The Abstract Pit
                                                                              Foggy Esor Pt. 2
                                                                              Singoth
                                                                              Rain Deer

                                                                              Matmos

                                                                              Ultimate Care II

                                                                              ‘Ultimate Care II’ is the new album from renowned conceptual electronics duo Matmos (Drew Daniel and MC Schmidt).

                                                                              Recorded in the basement studio of their home in Baltimore, the album is constructed entirely out of the sounds generated by a Whirlpool Ultimate Care II model washing machine. Like its namesake, the album runs across its variations as a single, continuous thirty eight minute experience that starts with the grinding turn of the wash size selection wheel, and ends with the alert noise that signals that the wash is done. Between these audio-verité book-ends, we experience an exploded view of the machine, hearing it in normal operation but also as an object being rubbed and stroked and drummed upon and prodded and sampled and sequenced and processed by the duo, with some occasional extra help from an ultra-local crew of guest stars (some of whom regularly do laundry chez Matmos).

                                                                              Dan Deacon, Max Eilbacher (Horse Lords), Sam Haberman (Horse Lords), Jason Willett (Half Japanese) and Duncan Moore (Needle Gun) all took part, either playing the machine like a drum, processing its audio, or sending MIDI data to the duo’s samplers. The vocabulary of the Ultimate Care II, its rhythmic chugs, spin cycle drones, rinse cycle splashes, metallic clanks and electronic beeps are parsed into an eclectic syntax of diverse musical genres. The result is a suite of rhythmic, melodic and drone-based compositions that morph dramatically but remain fanatically centered upon their single, original sound source.

                                                                              In addition to releasing a string of acclaimed albums over the past 20 years, Matmos have played the uterus and reproductive tract of a cow at the San Francisco Art Institute, canisters of helium at Radio City Music Hall (while opening for Bjork) and John Cage’s personal collection of conch shells at Carnegie Hall.

                                                                              Matmos have also collaborated and performed with Terry Riley, The Kronos Quartet, Antony Hegarty, William Basinski and Horse Lords.

                                                                              Three videos will be serviced: one by Baltimore musician Max Eilbacher (Horse Lords, Needle Gun), one by infamous collage artist / plunderphonic cut-up wizard Vicki Bennett (aka People Like Us) and one by Ed Apodaca of San Francisco motion graphics firm L-inc, who created the ‘Very Large Green Triangles’ video for Matmos’ last album.

                                                                              TRACK LISTING

                                                                              Ultimate Care II

                                                                              Revered Chicago-based instrumental group Tortoise, comprised of Dan Bitney, John Herndon, Doug McCombs, John McEntire and Jeff Parker, have spent 25 years making music that defies description. While the quintet have nodded to dub, rock, jazz, electronica and minimalism throughout their acclaimed and influential six-album discography, the resulting sounds have always been distinctly their own.

                                                                              It’s a fact that remains true on the hotly anticipated forthcoming new album ‘The Catastrophist’ (Thrill Jockey) and Tortoise’s first studio album in nearly seven years.

                                                                              Recorded at McEntire’s famed Soma Studios, it’s an album where moody, synth-swept jams like the opening title track cosy up next to hypnotic, bassand- beat missives like ‘Shake Hands With Danger’ and a fantastic cover of David Essex’s 1973 hit song ‘Rock On’ sung by U.S. Maple’s Todd Rittmann. Throughout, the songs on ‘The Catastrophist’ transcend expectations as often as they delight the listen’s eardrums.

                                                                              ‘Rock On’ isn’t the only vocal moment on the album. Yo La Tengo’s Georgia Hubley distinctive tones are on the bittersweet classic soul/R&B vibe ballad ‘Yonder Blue’. this also marks the first time a Tortoise album will feature a guest vocalist singing original lyrics.

                                                                              ‘Gesceap’, the first track premiered from ‘The Catastrophist’, is a stunning seven-minute long, minimalist rhythmic piece, morphing from two gently intersecting synth lines into a pounding, frenzied full-band finish.

                                                                              There’s a deeply intuitive interplay between the group that comes only from two decades of experimentation, revision and improvisation. At a time when our minds are constantly bombarded by myriad distractions, ‘The Catastrophist’ reminds us that there’s something much greater out there. All we have to do is listen.

                                                                              TRACK LISTING

                                                                              The Catastrophist
                                                                              Ox Duke
                                                                              Rock On
                                                                              Gopher Island
                                                                              Shake Hands With Danger
                                                                              The Clearing Fills
                                                                              Gesceap
                                                                              Hot Coffee
                                                                              Yonder Blue
                                                                              Tesseract
                                                                              At Odds With Logic

                                                                              Tortoise

                                                                              Beacons Of Ancestorship

                                                                                "Beacons Of Ancestorship" is Tortoise's sixth full-length album, and their first release of new material in five years, since 2004's "It's All Around You". A characteristic Tortoise album is one that traverses an encyclopaedia of styles and reference points, a document of where musical intersections and dialogue are occurring at a given moment in time. "Beacons Of Ancestorship" is no different, with nods to techno, punk, electro, lo-fi noise, cut-up beats, heavily processed synths, and mournful, elegiac dirges. We see these ideas working out in compositions like "High Class Slim Came Floatin' In", an eight-minute track which playfully references the world of ecstatic rave and dance culture with a curiously ambivalent, multi-part suite overlaid with robotic, machine-sounding melodies that stop and start in several different time signatures before the song's ultimate resolution; and again in "Yinxianghechengqi", which begins as a straightforward uptempo math-rocker before steadily accelerating into a wall of fuzzy atonal sqwonk.

                                                                                Tracklisting
                                                                                1. High Class Slim Came Floatin' In
                                                                                2. Prepare Your Coffin
                                                                                3. Northern Something
                                                                                4. Gigantes
                                                                                5. Penumbra
                                                                                6. Yinxianghechengqi
                                                                                7. Fall of Seven Diamonds Plus One
                                                                                8. Minors
                                                                                9. Monument Six One Thousand
                                                                                10. De Chelly
                                                                                11. Charteroak Foundation

                                                                                Dan Friel creates intense, colourful and intricate instrumentals that, for all their complexity, are melodic pop songs. Equally at home in the DIY scene and the contemporary art world, Friel has been at the forefront of a movement of musicians who create dance music with a clear affinity for the extremes of noise and metal, eschewing the traditional dance clubs and adhering to the ethics of the underground.

                                                                                On his second Thrill Jockey album ‘Life’, Friel uses his surprisingly small arsenal of gear to distort and manoeuvre his beloved Yamaha Portasound into an expansive sound that is incredibly varied in tone and texture. This toy keyboard, his first instrument, is manipulated beyond recognition to create songs that are frenzied and epic.

                                                                                ‘Life’ also has moments that are incredibly sweet, idyllic, and fragile - sentiments that make perfect sense coming from a new father whose instrument of choice is his childhood keyboard.

                                                                                All throughout ‘Life’, Friel exploits his intentionally simple set-up to ever surprising effect, using simple electronics to mirror the sounds of guitars, drums and harmonicas. It is an irresistible and genrebending collection of underground anthems.

                                                                                ‘Life’ was written and recorded by Friel at his home studios in Brooklyn and was mixed by Jonathan Schenke (Parquet Courts, Liturgy).

                                                                                ‘Life’ is Friel’s sophomore Thrill Jockey release following ‘Total Folklore’.

                                                                                “Punchy instrumentals instilled with the raw energy of punk” - Pitchfork

                                                                                “Full of technicolor chirp, sugar-rush whoosh, and a bucket of adrenaline” - Stereogum

                                                                                “A merry onslaught” - New York Times

                                                                                “It’s pretty much bottled raw power” - Tom Ravenscroft, BBC

                                                                                “Fucking great” - Kurt Braunohler

                                                                                TRACK LISTING

                                                                                Lullaby (For Wolf)
                                                                                Cirrus
                                                                                Rattler
                                                                                Lungs
                                                                                Sleep Deprivation
                                                                                Life (Pt. 1)
                                                                                Jamie (Luvver)
                                                                                Bender
                                                                                Theme
                                                                                Life (Pt. 2)

                                                                                White Hills are one of the most legendary acts in psychedelic rock today and remain a consistent top seller, often selling through multiple vinyl pressings quickly upon release.

                                                                                ‘Walks For Motorists’ showcases a new intensity for the band, emphasizing rhythm and groove. It is their definitive statement.

                                                                                The album was recorded at Bryn Derwen Recording Studio in Wales with David Wrench (Caribou, Bear in Heaven, FKA Twigs, Owen Pallet).

                                                                                White Hills have recently appeared in Jim Jarmusch’s film ‘Only Lovers Left Alive’, toured with both The Cult and Kylesa and were selected by Scion for their AV Club compilation.

                                                                                TRACK LISTING

                                                                                No Will
                                                                                £SD Or USB
                                                                                Wanderlust
                                                                                Lead The Way
                                                                                I, Nomad
                                                                                We Are What You Are
                                                                                Automated City
                                                                                Life Is Upon You
                                                                                Walks For Motorists

                                                                                Dommengang

                                                                                Everybody's Boogie

                                                                                  Dommengang are a Brooklyn-via-Seattle rock trio fronted by Pacific Northwest psych mainstay Sig Wilson (Holy Sons, Castanets, Scout Niblett) and Brooklyn musicians Brian Markham and Adam Bulgasem (currently members of Holy Sons’ live band).

                                                                                  While the trio’s affection for electric blues and proto-punk bombast is clear, their music abandons traditional song structures and replaces their recognizable tropes with progressive frameworks. The band’s debut, ‘Everybody’s Boogie’, pivots between gloriously inventive riffs and fuzzed-out experimentation, a combination so potent that the listener hardly notices that they rarely sing.

                                                                                  ‘Everybody’s Boogie’ was recorded live in the studio in Greenpoint, Brooklyn with minimal overdubs.

                                                                                  Recommended for fans of Pontiak, Endless Boogie, Earthless and Goat

                                                                                  TRACK LISTING

                                                                                  Everybody’s Boogie
                                                                                  Hats Off To Magic
                                                                                  Slow Hat
                                                                                  Her Blues
                                                                                  Wild In The Street Blues
                                                                                  Extra Slim Boogie
                                                                                  Burning Off The Years
                                                                                  Have Luck Will Travel
                                                                                  CC
                                                                                  Lost My Way

                                                                                  White Hills

                                                                                  Glitter Glamour Atrocity

                                                                                    'Glitter Glamour Atrocity' is a snapshot of the band in the midst of an incredible burst of creativity, and was recorded during the same sessions that produced 'Heads On Fire' and 'Abstractions & Mutations'. Sonically, it is radically different from anything else coming out of the New York underground at the time, and it set the template for the singular concoction of heavy psychedelic music, krautrock, and a worship of pure sound they have explored in different variations ever since.

                                                                                    Throughout the album the band explores themes of greed, misinformation, war, hypocrisy and their outcomes within the world’s political and economic systems, presenting these weighty topics with the same air of mystic understanding that underpins their music. Glitter Glamour Atrocity includes the song “Under Skin Or By Name,” the longest running staple in the band’s live set, which the band performed in the acclaimed film Only Lovers Left Alive at the request of director Jim Jarmusch. It is one of only two performances in the movie, which is enamored with the music making process and record collector culture.

                                                                                    Following the mood-setting intro track and the meditative bombast of “Under Skin or By Name,” WHITE HILLS settle into the sparse groove of “Spirit of Exile,” an expression of a desire to live apart from a culture that one does not fit into. These songs glow with the burning vitality and passion of free thinkers trapped in the waning years of the Bush administration. Those sentiments are perhaps most compellingly expressed on “Love Serve Remember,” a warped, surreal vision of life after 9/11 seen through the eyes of someone who witnessed the event first-hand, interspersed with a brilliantly edited speech by Bush himself in which he admits “I was a threat to the United States.”

                                                                                    Glitter Glamour Atrocity was recorded with the first iteration of the trio line-up with Dave W on vocals, guitar, synthesizers, and sound collage, Ego Sensation on bass and vocals, and Bob Bellomo on drums. It was recorded at Bellomo’s studio in Passaic, NJ, and produced by Dave W.

                                                                                    TRACK LISTING

                                                                                    01. Air Waves
                                                                                    02. Under Skin Or By Name
                                                                                    03. Spirit Of Exile
                                                                                    04. Distance
                                                                                    05. Somewhere Along The Way
                                                                                    06. Long Serve Remember
                                                                                    07. Passage
                                                                                    08. Glitter Glamour Atrocity

                                                                                    The Soft Pink Truth is the solo alter ego of Drew Daniel, one half of celebrated Baltimore-based electronic duo Matmos.

                                                                                    After a decade of silence in which Daniel concentrated on Matmos and becoming a Shakespeare professor, The Soft Pink Truth is set to release ‘Why Do The Heathen Rage?’, whose subtitle ‘Electronic Profanations Of Black Metal Classics’ reveals its bizarre agenda as an unrequited love letter to a justly divisive genre.

                                                                                    A gleeful queer travesty of black metal’s undying obsession with kvlt authenticity, ‘Why Do The Heathen Rage?’ is also a formally precise homage executed with a scholar’s obsession. With the guitar chord transcription assistance of Owen Gardner (Teeth Mountain, Horse Lords) and a coven of guest vocalists including Antony Hegarty (Antony And The Johnsons), Terence Hannum (Locrian), Jenn Wasner (Wye Oak) and M.C. Schmidt (Matmos), Daniel meticulously transposes the riffs, structures and patterns of black metal chestnuts and deep cuts by Darkthrone, Venom, Mayhem, Sarcofago, Beherit and more into oddly hybrid new forms. Cruising camp absurdity by forcing a sticky tryst between the two mutually incongruous early 90s subcultures of rave and black metal, the results are bracingly strange on first listen but curiously addictive as the album sinks in.

                                                                                    TRACK LISTING

                                                                                    Invocation For Strength
                                                                                    Black Metal
                                                                                    Sadomatic Rites
                                                                                    Ready To Fuck
                                                                                    Satanic Black Devotion
                                                                                    Beholding The Throne Of Might
                                                                                    Let There Be Ebola Frost
                                                                                    Buried By Time And Dust
                                                                                    Maniac
                                                                                    Grim And Frostbitten Gay Bar

                                                                                    Glenn Jones

                                                                                    Welcomed Wherever I Go

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

                                                                                      Brand new 16 minute 12“ EP from Glenn Jones pressed on virgin vinyl and packaged in a full colour LP jacket with free download coupon.

                                                                                      Limited to only 1,000 worldwide.

                                                                                      All exclusive, never before released material.

                                                                                      Limited to 120 copies for the UK and Ireland.

                                                                                      TRACK LISTING

                                                                                      Medley : Island III / Against My Ruin
                                                                                      From A Forgotten Session
                                                                                      The Orca Grande Cement Factory At Victorville (with Cian Nugent)

                                                                                      A Minor Forest

                                                                                      Flemish Altruism / Inindependence

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

                                                                                        Classic albums from the early days of Thrill Jockey.

                                                                                        Originally released in 1996/1998 - these have been out of print on vinyl for nearly a decade.

                                                                                        Both albums are being re-issued and will be sold as a 4xLP set.

                                                                                        ‘Flemish Altruism’ will feature new/updated artwork.

                                                                                        Both will include download coupons for the first time.

                                                                                        A Minor Forest recently reunited and played a very well received show in San Francisco (with a Bay Guardian cover story)

                                                                                        The band will tour the US in April & May of this year.

                                                                                        Limited to 60 copies for the UK and Ireland.

                                                                                        TRACK LISTING

                                                                                        Flemish Altruism
                                                                                        ...But The Pants Stay On
                                                                                        Bill's Mom Likes To Fuck
                                                                                        Ed Is 50
                                                                                        So Jesus Was At The Last Supper...
                                                                                        Jacking Off George Lucas
                                                                                        Speed For Gavin
                                                                                        Perform The Critical
                                                                                        Straw Transfer
                                                                                        Dainty Jack And His Amazing Technicolor Cloth Jacket
                                                                                        Beef Rigger
                                                                                        The Loneliest Enuretic

                                                                                        Inindependence
                                                                                        The Dutch Fist
                                                                                        Erik's Budding Romance
                                                                                        Look At That Car, It's Full Of Balloons
                                                                                        ... It's Salmon!
                                                                                        The Smell Of Hot
                                                                                        Michael Anthony
                                                                                        Discoier

                                                                                        2013 was a notable year for Thalia Zedek. She released her first album in five years, ‘Via’, which PopMatters called a “rumbling, sweet, muscled set of tunes, as resilient as they are beautiful,” followed by a tour across North America with Low. She also reunited with Come, the classic band she formed with Chris Brokaw in 1990, reissuing their classic debut ‘Eleven:Eleven’ and playing their first shows in over a decade across the US and Europe. Following this intense flurry of activity, Thalia regrouped with herband in Boston to record an EP, harnessing the creative energy she had accumulated during her time on the road.

                                                                                        ‘SIX’ is a brand new 29 minute mini-album following ‘Via’, which was praised by Pitchfork, Spin, PopMatters, Paste, American Songwriter, Magnet, and Under The Radar.

                                                                                        ‘SIX’ opens with a full band version of ‘Fell So Hard’, a characteristically mournful dirge that exudes a tenacious, slowmoving intensity. Zedek explores the complexities of interpersonal relationships, employing some of the most sparse arrangements of her career. The spareness of tracks like ‘Julie Said’ and ‘Afloat’ achieve incredible emotional heft, letting Thalia’s lyrics, delivered in her unmistakable voice, take centre stage.

                                                                                        TRACK LISTING

                                                                                        Fell So Hard
                                                                                        Julie Said
                                                                                        Midst
                                                                                        Dreamalie
                                                                                        Flat Hand
                                                                                        Afloat

                                                                                        D. Charles Speer & The Helix

                                                                                        Doubled Exposure

                                                                                          D. Charles Speer, aka Dave Shuford, is a founding member of both Rhyton and No Neck Blues Band, and also known for his work with Enos Slaughter, The Suntanama, Egypt Is The Magick #, and Coach Fingers.

                                                                                          On ‘Doubled Exposure’ The Helix take their loose and free country rock boogie and enhance it with the blistering psych Speer explores in Rhyton, and the traditional Greek melodies delved into on the Speer solo album, ‘Arghiledes’ (also on Thrill Jockey).

                                                                                          ‘Doubled Exposure’ was recorded by Jason Meagher at the increasingly legendary Black Dirt Studios in upstate New York, where Blues Control, Expo 70, Jack Rose and Psychic Ills have also recorded.

                                                                                          The Helix band member Hans Chew (keyboards) has released solo music on Three Lobed, while Marc Orleans (pedal steel) has performed with Catherine Irwin, Steve Gunn, Meg Baird and Chris Forsyth.

                                                                                          ‘Mediation Of Ecstatic Energy’ is the third album from Dustin Wong, and the conclusion of a trilogy that began with ‘Infinite Love’ (2010) and continued with ‘Dreams Say, View, Create, Shadow Leads’ (2012).

                                                                                          Dustin Wong was a founding member of Ponytail and Ecstatic Sunshine.

                                                                                          “Wong makes intricately layered guitar music that is as hypnotic as it is beautiful.” - The Fader

                                                                                          “While Brian Eno and Robert Fripp first brought the music-as-system aesthetic within hailing distance of pop music in the mid 70s, Wong is way ahead of them when it comes to making his system turn out things that sound like pop songs.” - Dusted

                                                                                          TRACK LISTING

                                                                                          The Big She
                                                                                          Emerald Atmosphere
                                                                                          Imaginelectric
                                                                                          Aura Peeled Off
                                                                                          Out Of The Crown Head
                                                                                          Liberal Christian Youth Ministry
                                                                                          Cityscape Floated
                                                                                          Speeding Feathers Staring
                                                                                          (A) Shows (B) His analysis And (C) Looked over
                                                                                          Physical Consciousness Went In
                                                                                          Japan
                                                                                          Helix Sky
                                                                                          Vision Waterfall
                                                                                          Tall Call Cold Sun
                                                                                          Venetian Mist *
                                                                                          (* = Bonus Track - 7” Only)

                                                                                          ‘Drifter’s Temple’ is Plankton Wat (aka Dewey Mahood)’s second album for Thrill Jockey, following last year’s ‘Spirits’.

                                                                                          Mahood utilized 6 and 12 string guitars, lap steel, bass, organ, and synth to realize these richly detailed songs. ‘Drifter’s Temple’ harkens back to Mahood’s childhood in Northern California, both sonically and conceptually. A loose narrative is woven through these ten instrumental tracks, touching on the Gold Country and Mt. Shasta that populate his native countryside.

                                                                                          The album unfolds with the grace and contour of the landscape that inspired it, with fingerpicked melodies slowly growing to gigantic peaks of lysergic bliss. His guitar style is as far reaching as ever on ‘Drifter’s Temple’, which shows him seamlessly integrating his love of the Appalacian folk music of Dock Boggs and Roscoe Holcomb into the subtle Grateful Dead-isms, nods to 70s cosmic music, and overt Crazy Horse moves he has explored on recent releases.

                                                                                          ‘Drifter’s Temple’ features contributions from Dustin Dybvig (Horse Feathers and Edibles), Matt McDowell (Sagas) and John Rau (Royal Baths and Edibles).

                                                                                          Dewey Mahood was a founding member of Eternal Tapestry and has performed in Gärden Söund (with Barn Owl), Edibles, Bloodbiker, and Jackie-O Motherfucker.

                                                                                          TRACK LISTING

                                                                                          Toward The Golden City
                                                                                          Changing Winds
                                                                                          Klamath At Dusk
                                                                                          Nightfall
                                                                                          Empire Mines
                                                                                          Hash Smuggler’s Blues
                                                                                          Dance Of Lumeria
                                                                                          Western Lament
                                                                                          Bread Of Dreams
                                                                                          Siskiyou Caverns

                                                                                          Mountains

                                                                                          Mountains Mountains Mountains

                                                                                          ‘Mountains Mountains Mountains’ was originally released in 2008 on the Catsup Plate label in a tiny edition of 500 copies that quickly sold out.

                                                                                          Thrill Jockey are happy to re-issue the album in a limited edition of 1,000 copies with different artwork (an inverted colour scheme from the original) pressed on high quality virgin vinyl with a download coupon for the first time.

                                                                                          This re-issue follows the band’s latest album ‘Centralia’ (released in January of this year to critical acclaim). The band toured the US and Europe this year in support.

                                                                                          Koen Holtkamp describes ‘Mountains Mountains Mountains’ thusly: “One thing that strikes me on listening back 5 or so years later is both how different and similar it sounds to what we are currently doing. While these pieces are clearly more minimal and intimate on some level and our technical approach has changed somewhat, the dynamics between the acoustic and electronic elements remain fairly consistent throughout our releases. Which is something we’ve been engaged with from the beginning and part of what defines us as a band.”

                                                                                          The record’s artwork mirrors the band’s ability to create music that encourages personal revelation through universal consciousness: “We made sign up sheets with instructions for people to right the word Mountains which we had by the door at a few of our shows and left in a couple record stores in NY. Each ‘signature’ is in a unique handwriting by a different person, but all writing the same word.”

                                                                                          Mountains vinyl remains in very high demand, with ‘Centralia’ already in a third pressing.

                                                                                          TRACK LISTING

                                                                                          The Whale Years
                                                                                          Nest
                                                                                          Millions Of Time
                                                                                          Hive

                                                                                          Peals

                                                                                          Walking Field - Bonus 7" Edition

                                                                                            Limited deluxe LP edition (150 copies for the UK, exclusively available to independent retailers) includes a bonus 7” with two unreleased non-album tracks (‘Night Train To Tuscan’ / ‘Believers II’). The 7” is packaged in its own jacket and included with the LP.

                                                                                            Peals is a new band led by William Cashion (Future Islands) and Bruce Willen (Double Dagger), members of two of Baltimore’s most dynamic live bands.

                                                                                            The instrumental music on ‘Walking Field’ was created with acoustic and electric guitars, keyboards, tambourines, toy pianos, and other sonic tools to create a stripped-down, warm living room atmosphere.

                                                                                            The music that sprang from these sessions, simultaneously exultant and cerebral, took the duo into unexpected territory. While the emotional intensity of their other projects is on full display here, a more gentle, melancholic and often abstract expression recalls Robin Guthrie and minimalist recordings from the sonic pioneers of the 1970s German scene - all direct inspirations for Peals as the songs that would become ‘Walking Field’ took shape.

                                                                                            ‘Walking Field’ was recorded with no bass guitars or drums - all percussion sounds were generated by contact with guitars and microphones - the emphasis here is placed on texture and feeling.

                                                                                            TRACK LISTING

                                                                                            Floating Leaf
                                                                                            Blue Elvis
                                                                                            Belle Air
                                                                                            Pendelles
                                                                                            Tiptoes In The Parlor
                                                                                            Lonestar
                                                                                            Believers
                                                                                            Koan 1

                                                                                            Peals is a new band led by William Cashion (Future Islands) and Bruce Willen (Double Dagger), members of two of Baltimore’s most dynamic live bands.

                                                                                            The instrumental music on ‘Walking Field’ was created with acoustic and electric guitars, keyboards, tambourines, toy pianos, and other sonic tools to create a stripped-down, warm living room atmosphere.

                                                                                            The music that sprang from these sessions, simultaneously exultant and cerebral, took the duo into unexpected territory. While the emotional intensity of their other projects is on full display here, a more gentle, melancholic and often abstract expression recalls Robin Guthrie and minimalist recordings from the sonic pioneers of the 1970s German scene - all direct inspirations for Peals as the songs that would become ‘Walking Field’ took shape.

                                                                                            ‘Walking Field’ was recorded with no bass guitars or drums - all percussion sounds were generated by contact with guitars and microphones - the emphasis here is placed on texture and feeling.

                                                                                            TRACK LISTING

                                                                                            Floating Leaf
                                                                                            Blue Elvis
                                                                                            Belle Air
                                                                                            Pendelles
                                                                                            Tiptoes In The Parlor
                                                                                            Lonestar
                                                                                            Believers
                                                                                            Koan 1

                                                                                            Survival are a New York trio featuring Hunter Hunt-Hendrix (Liturgy), Greg Smith, and Jeff Bobula.

                                                                                            This self-titled debut was recorded by Colin Marston (Krallice, Dysrhythmia) at The Thousand Caves and mastered by Heba Kadry at Timeless Mastering.

                                                                                            ‘Survival’ is an album of dark and meditative heavy rock. Syncopated riffs, intricate rhythms and atypical time signatures create dramatic and complex melodic lines that provide a bed for chant-like lyrics. The group operate as a collective, writing lyrics, riffs and singing with one voice. The album is a unique document that harkens back to post-hardcore, Black Sabbath, Magma, Aphrodite’s Child, Creedence Clearwater Revival, Aaron Copeland, The Smashing Pumpkins, and the first wave of math rock.

                                                                                            Survival were formed out of the ashes of Birthday Boyz, whose 2007 tour of China was documented by Vice TV for an instalment of the Music World show ‘Rock Under The Red Flag’.

                                                                                            TRACK LISTING

                                                                                            Tragedy Of The Mind
                                                                                            Original Pain
                                                                                            Freedom 1
                                                                                            Second Freedom
                                                                                            Since Sun
                                                                                            Our Way
                                                                                            Freedom 3
                                                                                            Tragedy Reprise
                                                                                            Triumph Of The Good

                                                                                            Stygian Stride is the solo guise of the New York based musician Jimy SeiTang, who was a member of Psychic Ills and is currently a member of New York experimental / improve / psych trio Rhyton with Dave Shuford (D. Charles Speer & The Helix, No Neck Blues Band) and Spencer Herbst (Messages, Matta Llama). Rhyton released albums on both Thrill Jockey and Three Lobed in 2012.

                                                                                            Stygian Stride is an album of gauzy electronic music reminiscent of Gas and the classic era of Mille Plateaux and Chain Reaction, with nods to Manuel Göttsching, Tangerine Dream and Popul Vuh.

                                                                                            The album artwork was created by Arik Roper (Sleep, Sunn O))), Howlin Rain, Earth, High On Fire, Weedeater).

                                                                                            The album was recorded entirely on analogue equipment, without MIDI synching, at Black Dirt Studios by Jason Meagher (D. Charles Speer, Jack Rose, Expo 70, Blues Control).

                                                                                            TRACK LISTING

                                                                                            Celestial Stems
                                                                                            Hindsight
                                                                                            Drift
                                                                                            Taiga
                                                                                            Athanor Ascension
                                                                                            Fade Into Bolivian

                                                                                            Matmos

                                                                                            The Ganzfeld EP

                                                                                            Matmos deliver their first material for Thrill Jockey in the form of ‘The Ganzfeld EP’, which is nearly 30 minutes in length. A new full length album, ‘The Marriage Of True Minds’, is to follow in 2013.

                                                                                            The EP and the album have the same conceptual basis: Telepathy. ‘The Ganzfeld EP’ features two new Matmos tracks that are explicitly based upon psychic session material, and a throbbing minimal techno remix by RRose of the Matmos song ‘You’. Careening from widescreen electronic pop to eerie choral music, the results are eclectic, fun, and disorienting in equal measure. Matmos are one of the most prominent experimental electronic artists of the last decade. Their seven albums have been some of the most significant and acclaimed in the genre, and their high profile collaborations and shows with artists like Bjork and Kronos Quartet have given them definite exposure that extends far beyond the world of heady electronic music.

                                                                                            “Matmos are an innovative electronica duo... playing their tactile and thunderously crunchy work” - The New York Times

                                                                                            “Matmos have always heard symphonies in life’s smallest details, sampling things like thawing streams and liposuction vacuums and building busy pop tapestries out of them” – Pitchfork

                                                                                            TRACK LISTING

                                                                                            Very Large Green Triangles (Edit)
                                                                                            You (Rrose Mix)
                                                                                            Just Waves

                                                                                            White Hills newest and most energized recording to date is bursting with raw energy packed into their most concise songs to date. Fear not long time White Hills fans, there is still loads of killer guitar work and fuzzed out psychedelia on 'Frying on this Rock. The album opens with an under five minute scorcher and closes with a 15 minute track that reminds us why space rock gatekeepers like Julian Cope were very early supporters. The end result, Frying on this Rock, is an invigorating deep space rock album. An album that is at once able to channel the energy born of a collective anger into a swirling psychedelic, brutalizing musical statement that mainlines the thrill of defiance straight to the listener’s heart.

                                                                                            “...White Hills have established themselves as some of America’s foremost proponents of fuzz-driven space rock... Its latest effort H-p1 expands upon the the legacies of Hawkwind, Can, and early Tangerine Dream with synapse-frying deepspace epics” - SF Weekly; “A darkly hypnotic mix of churning guitar, distant vocals and swirling synth drones, this record conjures a riff-heavy psychedelic vibe that picks up where the Velvet Underground and Spacemen 3 left off. Far out.” - Los Angeles Times.

                                                                                            STAFF COMMENTS

                                                                                            Darryl says: More epic fuzz-psyche onslaughts from the current leaders of the pack, the White Hills. Molten guitars and a pummelling rhythm section, create a swirling wave of noise taking space rock to new dimensions.

                                                                                            TRACK LISTING

                                                                                            1. Pads Of Light
                                                                                            2. Robot Stomp
                                                                                            3. You Dream You See
                                                                                            4. Song Of Everything
                                                                                            5. I Write A Thousand Letters (Pulp On Bone)

                                                                                            Thank You could only come from one city, at one moment in time. Like Pere Ubu’s Cleveland and Joy Division’s Manchester, post-industrial Baltimore serves as simultaneous playground, obstacle course, and muse to this show-stealing art-rock trio. Jeffrey McGrath (everything), Michael Bouyoucas (everything), and Emmanuel Nicolaidis (everything) are veterans of a cold era when the Baltimore music scene barely exceeded the carrying capacity of a warehouse elevator. Things change, and the band’s urgent collision of rhythm, melody, and noise has placed them at the creative center of today’s Baltimore renaissance, sharing stages and tours with such acts as Beach House (Sub Pop), Lungfish (Dischord), Celebration (4AD), Dan Deacon (Carpark), Zomes (Holy Mountain), Jason Urick, and Future Islands (both Thrill Jockey).

                                                                                            Launched in 2006 with original drummer Elke Wardlaw (who now resides in Berlin), Thank You carved out a new sound drawing inspiration from the innovative post-punk of This Heat and Swell Maps and the polyrhythmic attack of The Ex and Dog Faced Hermans. Their live shows have become the stuff of (living) legend, a tension-and-release pile-on that drops jaws and leaves organs vibrating; their recordings, crafted with collaborators such as J. Robbins (Jawbox, Yeasayer, Ponytail, and Mary Timony) and Chris Coady (Yeah Yeah Yeahs, Beach House, Gang Gang Dance, TV on the Radio), all vital documents of the recent future as performed by six arms and three sets of teeth.

                                                                                            Thank You’s first full-length with new drummer Emmanuel Nicolaidis follows closely on the heels of 2009’s sold-out 12” EP Pathetic Magic. A band that once limited its vocals to hums, grunts, and chants has entered the next phase, delivering a stellar collection of challenging rock-and-roll songs. But Golden Worry eschews easy, anthemic sing-alongs, instead dipping into the vocabularies of Krautrock, post-punk, no-wave, and noise to produce what is at once Thank You’s most melodic and most aggressive record.

                                                                                            Here we have guitars, drums, and vocals -- but also ‘60s Vox organs, harmonica, mini-moog, jaw harp, sampler, and Fender Twin Reverb amps -- all in the service of six hypnotic tracks of Baltimore-built avant-rock. From the first-jangling, then-jagged guitars of album-opener “1-2-3 Bad” to the triumphant swirls and squeals of “Continental Divide” and the dexterously deconstructed instrumental bridge of galvanizing closer “Can’t/Can,” these songs are intricate yet immediate stunners. Attacked with the ecstatic, fierce energy of a Thank You live set – and then perfected in the studio with ears attuned to dub, Eno, 20th Century classical, and Konono No. 1 – Golden Worry is a new world in which we listeners can lose ourselves: the sound of Baltimore at the vanguard as we enter the Two-Thousand Teens.

                                                                                            TRACK LISTING

                                                                                            1. 1-2-3 Bad
                                                                                            2. Birth Reunion
                                                                                            3. Pathetic Magic
                                                                                            4. Continental Divide
                                                                                            5. Strange All
                                                                                            6. Can’t/Can


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