Saturday, April 25, 2015
Death Vessel’s Joel Thibodeau’s slender, winsome voice, at once so comforting and so unsettling might be the greatest of his many strengths. Reed-thin but sturdy, youthful but somehow ageless, its deep benevolence is also slightly eerie, and the way he gently walks the line between intense feeling and contemplative remove lets him sing from a timeless place where he evokes the beauty of vanished people and places, sweetness too profound for words, loss too great for tears. Joel’s is a voice that demands its own sonic and lyrical world, and with Island Intervals, his third record as Death Vessel (and second for Sub Pop), we’re treated to the sound of him finding a rich and strange new home among new friends in Iceland who probably saw him as a long-lost relative. For his first album since 2008’s acclaimed Nothing Is Precious Enough for Us, Joel traveled to Reykjavik on an invitation from Sigur Ros singer Jónsi and producer Alex Somers, where they spent three months together conjuring an album that’s both a song cycle and a window into a mysterious and singular landscape.
INCL. Nite Jewel, Populous, Dntel Remix!!!
Cuushe now returns with the Night Lines EP, her fourth proper release. Night Lines is presented as a noir storybook, unfolding along four tracks to expose a haunting Japanese soundscape, complete with bad guys, funeral processions and skyscraper-sized floral arrangements. The lyrics were penned by Cuushe with underlying productions composed by aus. Many sounds were sourced from films, animations and field recordings, with designs of obscuring timelines and the perception of reality.
Night Lines is set for release on April 7 on 10” vinyl and CD as a collaboration between Cascine and flau. North American tour dates are currently being routed.
On their debut album, Death And The Maiden craft a shadowy sound world, filled with melancholic synth arpeggios, reverb-drenched guitars, and sighing vocal melodies. The combination is both hypnotic and devastating, exploring themes of love, loss, and decay, wrapped in tactile electro-acoustic languor. A party record for heartbroken romantics.
“The combination of drum machines, amniotic synth wash and guitars evoke select Hacienda-era Factory bands and the Sheffield Sound (think Section 25 or Chris & Cosey), while Lucinda King’s haunting, reverb-drenched vocals generate an incantatory power...” [The Corner]
Thursday, April 23, 2015
In 2014 Bonnie 'Prince' Billy and broeder Dieleman played a tour together, consisting of eight fully acoustic shows spread throughout the Netherlands. The tour was sold out within an hour, and plenty of reason for both artists to do a follow-up.
The result was a split 7" for Record Store Day 2015. Bonnie 'Prince' Billy is regarded as an inspiration for, and is praised by, many great international recording artists. His songs have previously been covered by the likes of Johnny Cash and Mark Lanegan. For this 2015 RSD release he translated 'Gloria' by broeder Dieleman into English. Broeder Dieleman covered Oldham's Three Questions in Zealandic dialect.
Wednesday, April 22, 2015
“… exists at the intersection of the free rock, avant-garde jazz, and outre improvisation scenes which have long been a hallmark of the city’s music culture. “Blood Mirage” is the first taste of their upcoming debut Blood Dancer. A lumbering, slow-burn intro is worth the wait as Crown Larks launch into an unexpectedly tight groove, smearing healthy dollops of saxophone over an energetic percussion attack that reframes the preceding skronk as a storm-before-the-calm palate cleanser. in an admirable display of patience they have waited until now to unleash their debut long-player. The authentic chemistry that results from hours upon hours of gigging is heard throughout Blood Dancer.” - AdHoc
“… an avant-garde melting pot that depicts what happens when musicians on the same wavelength fuse mind, energy, and talents together as a unified communal-like force. ‘Overgrown’ is not your parent’s side b singular jam band track, but Crown Larks’ experimentation in creating plant and tree like textures that grow before your ears and eyes upon listening. Jack’s voice guides you through the evergreen tall grass, wild grown hedges, the thick of the woods until the Larks transform the entire soundscape into a jungle of amplified orations. Guitars grind against the droning meditation, as synths make circles like a dizzying swarm of birds, buzzards, and scuzzed out fuzz that blares and beats like scuffed up trainers stomping on a yoga mat. In under eight minutes you will have felt as if an entire natural habitat bloomed before you.” - Impose