Pure Comedy, Father John Misty’s third album, is a complex, often-sardonic, and, equally often, touching meditation on the confounding folly of modern humanity. Father John Misty is the brainchild of singer-songwriter Josh Tillman. Tillman has released two widely acclaimed albums – Fear Fun (2012) and I Love You, Honeybear (2015) – and the recent “Real Love Baby” single as Father John Misty, and recently contributed to songs by Beyoncé, Lady Gaga, and Kid Cudi. While we could say a lot about Pure Comedy – including that it is a bold, important album in the tradition of American songwriting greats like Harry Nilsson, Randy Newman, and Leonard Cohen – we think it’s best to let its creator describe it himself. Take it away, Mr. Tillman: Pure Comedy is the story of a species born with a half-formed brain. The species’ only hope for survival, finding itself on a cruel, unpredictable rock surrounded by other species who seem far more adept at this whole thing (and to whom they are delicious), is the reliance on other, slightly older, half-formed brains. This reliance takes on a few different names as their story unfolds, like “love,” “culture,” “family,” etc. Over time, and as their brains prove to be remarkably good at inventing meaning where there is none, the species becomes the purveyor of increasingly bizarre and sophisticated ironies. These ironies are designed to help cope with the species’ loathsome vulnerability and to try and reconcile how disproportionate their imagination is to the monotony of their existence. Something like that. Pure Comedy was recorded in 2016 at the legendary United Studios (Frank Sinatra, Ray Charles, Beck) in Hollywood, CA. It was produced by Father John Misty and Jonathan Wilson, with engineering by Misty’s longtime sound-person Trevor Spencer and orchestral arrangements by renowned composer/double-bassist Gavin Bryars (known for extensive solo work, and work with Brian Eno, Tom Waits, Derek Bailey.
Comes in a diecut jacket with a reversible inner sleeve plus an insert with additional artwork and interview with composer Carlo Maria Cordio. Mastered for vinyl by James Plotkin and artwork by Devon Whitehead. Lunaris Records is proud to unleash the soundtrack for the 1990 cult classic horror comedy, Troll 2. Composed by Italian maestro Carlo Maria Cordio (Absurd, Pieces, Body Puzzle), the soundtrack offers an eclectic mix of synth, bluegrass, and guitar rock jams.
Formed in 2009, the prolific Austin, TX experimental synth quartet S U R V I V E have released two full-lengths and numerous EPs / singles since their inception, including recent contributions to the soundtrack for the acclaimed indie horror film The Guest. Additionally, two of the group’s members recently scored the soundtrack for the new hit sci-fi / horror show Stranger Things starring Winona Ryder on Netflix. S U R V I V E have appeared at numerous esteemed festivals across the US including Moogfest, Levitation Fest, Fun Fun Fun, Beserktown, Day in The Desert, Decibel, etc. and have played alongside acts like Goblin, John Maus, Tame Impala, Lightning Bolt, This Will Destroy You, A Place To Bury Strangers, Max Cooper, and many others; Noisey even called their live show “transcendental.” Now, S U R V I V E have completed self-recording their second full-length via their home studios, which will see a September 30 via Relapse. The synth quartet’s sophomore full-length and Relapse debut is a dark, sweeping exercise in analog synth mastery. The pulsating, 9-song instrumental release showcases immense diversity between tracks – RR7349’s compositions range from grim tom-tom thunder to space-age epics, pairing tense plodding grooves with meditative ambience and driving, rhythmic beats. Inspired by IDM and horror scores alike, RR7349 is simultaneously ominous and hopeful; tense and relaxed; percussive and melodic. A unique addition to the Relapse discography, and unquestionably S U R V I V E ‘ s best work to date. S U R V I V E are: Adam Jones / Kyle Dixon / Mark Donica / Michael Stein
On their sixth album VOIDS, Minus the Bear started with a blank slate, and inadvertently found themselves applying the same starting-from-scratch strategies that fueled their initial creative process. Album opener "Last Kiss" immediately establishes the band's renewed fervor. An appropriately dizzying guitar line plunges into a propulsive groove before the chorus unfolds into a multi-tiered pop chorus. From there the album flows into "Give & Take", a tightly wound exercise in syncopation that recalls the celebratory pulse of early Bear classics like "Fine + 2 Pts" while exploring new textures and timbres. "Invisible" is arguably the catchiest song of the band's career, with Jake Snider's vocal melodies and Knudson's imaginative guitar work battling for the strongest hooks. "What About the Boat?" reminds us of the "math-rock" tag that followed the band in their early years, with understated instrumentation disguising an odd-time beat. "Erase," recalls the merging of forlorn indie pop and electronica that the band dabbled with on their earlyEPs, but demonstrates the Bear's ongoing melodic sophistication and tonal exploration. By the time the band reaches album closer "Lighthouse," they've traversed so much sonic territory that the only appropriate tactic left at their disposal is a climactic crescendo, driven at its peak by Cory Murchy's thunderous bass. Not since Planet of Ice's "Lotus" has the Bear achieved such an epic finale. All in all, it’s an album that reminds us of everything that made us fall in love with Minus the Bear in the first place, and a big part of that appeal is the sense that the band is heading into uncharted territories.
Foxygen is the Big Bang of two combusting minds. It's the splayed Galaxy of polar geniuses Sam France and Jonathan Rado. It's a handshake with a knife behind your back. A sleepless night in a five star hotel. You listen to Hang properly. You take in each moment. Each new melody that threads forward from the fingertips of one of this generation's finest pianomen in Jonathan Rado. And you fall in line behind Sam France's sprawling and reckless lyric.Witness his mastery. Feel them struggle against the walls of their own creations. Follow them there. To the perimeter. To the exit sign. Notice that the two young guys aren't there anymore. They're outside looking for another joint to haunt. They're already out of sight.
Society would deem that a prodigious girl can't be in a progressive rock band while also being in complete control of its creative vision, business plan and social messaging. Society is wrong. Clem Creevy, a 19 year old teen Queen dreamed up Cherry Glazerr in her LA bedroom alone and is perhaps more capable of figuring a music career out than anyone who attempts this treacherous life path. Back in 2014, much-loved Cali imprint Burger Records released their intoxicating debut Haxel Princess and Suicide Squeeze released the Had Ten Dollaz 7-inch. On Apocalipstick, the band worked with “rock'n'roll wizard” Joe Chicarelli [White Stripes, The Shins, The Strokes] and Carlos de la Garza [Bleached, M83, Tegan and Sara]. With their help and the band's newfound self-discipline and motivation, Cherry Glazerr has evolved into a wildly complex, hugely guitar heavy, and unapologetically loud machine.
Atlantic Records has announced the highly-anticipated release of The Hamilton Mixtape, an unprecedented musical companion to the landmark Broadway musical by Tony, GRAMMY® and Emmy Award-winner Lin-Manuel Miranda.Executive produced by The Roots’ Ahmir “Questlove” Thompson and Tarik “Black Thought” Trotter, The Hamilton Mixtape sees songs from the Pulitzer Prize-winning musical covered and remixed by a remarkable cast of contemporary artists. Superstars contributing to the one of its kind collection include Sia, Usher, Kelly Clarkson, The Roots, Alicia Keys, Nas, Wiz Khalifa, Chance The Rapper, John Legend, Regina Spektor, Ashanti, Ja Rule, Miguel, Queen Latifah, Common, Ben Folds, Andra Day, Jill Scott, Jimmy Fallon & more. The Hamilton Mixtape also includes three previously unreleased HAMILTON demos.
Tree Colored See is a collaborative effort between renowned L.A. hip hop and electronic producer Nobody (Elvin Estella) and Mystic Chords of Memory (featuring Chris Gunst of The Beachwood Sparks and The Aisler SetOs Jen Cohen). After swapping successful guest appearances on a few releases, the trio began working on a collaborative project in the spring of 2004. After a year filled with road trips and mailorder-only production efforts, the group hits upon a perfectly crafted blend of psychedelic hip-hop and sunshine folk-rock. A producer/ arranger in the classical sense, Nobody uses his samplebased tool set to create the foundations of the album. Gunst continues to mature as a songwriter and along with partner Cohen, adds wistful vocals and accomplished musicianship. Fans who may have followed these artists throughout their respective careers will be thrilled at how Tree Colored See brings out the best in each.
In 2008, Termanology began making a real name for himself, he had several highly-acclaimed singles in rotation and when DJ Premier laced him with one of his signature, scratch-laden beats on "Watch How It Go Down," the hood conscious anthem became an underground classic; and with it Termanology thrust himself onto hip-hop's international radar. Soon after, Term released his solo-debut, ‘Politics As Usual’, a project that included a Mount Rushmore like array of producers; DJ Premier, Pete Rock, Large Professor, Havoc, Alchemist, Hi-Tek, Buckwild, Easy Mo Bee & Nottz. ‘Politics As Usual’ was one of those rare projects which managed to merge the best of both worlds for Hip-Hop fans; meshing classic boom-bap production from a virtual who's who list of production royalty with Term’s lyricism, swagger and bravado. A lot has changed since Termanology released his debut, but in hip-hop, just as in life, everything comes full-circle. He’s back with ‘More Politics’, which, similar to his debut, brings together the elite of the elite in beatsmiths, as Just Blaze (Jay-Z, Beyonce, Eminem etc), Q-Tip (A Tribe Called Quest), Buckwild (DITC), Hi-Tek, Nottz, Dame Grease (Nas, Fat Joe, DMX, Kelis, MGK, LL Cool J, T.I. etc), and the Grammy Award winning J.U.S.T.I.C.E. League (Rick Ross, Mary J Blige, Wale, Drake, Lil Wayne, Young Jeezy, Tech N9ne, Chance the Rapper, 2 Chainz etc), plus his brother from another mother Statik Selektah, all contribute production. Not only does the production mark Term’s current focus on creating top-tier songs, but he also enlisted the best-of-the-best to bless the mic on ‘More Politics’, including Joey Bada$$ (Pro Era), KXNG Crooked (Slaughterhouse), Bun B (UGK), Sheek Louch & Styles P (The Lox), Saigon, Westside Gunn, Ea$y Money, Conway, Chris Rivers, Your Old Droog and others.
Thomas Jefferson once wrote that“a little rebellion now and then is a good thing.” While one of our founding fathers was probably referring to our government and what could beAmerica in 2017, Jansport J subconsciously ended up taking the adage to heart in the studio for his new album p h a r a o h.During a visit to the RottenApple one January in 2016, one of hip hop’s founding fathers--Rakim--and an intangible magnetism in the city brought on a break from his familiar narrative-driven album structure in favor of raw, gut feelings. Taking a page out of J Dilla’s book, he shirked care for track listing order to give the listener a bumpy, immersive trip with no sense of direction like a tourist caught in the morning rush on the L train. You’re not supposed to ever get too comfortable while you listen to p h a r a o h. It reflects the unforgiving hustle and bustle of New York City as the crowd takes you one way or pushes you in another just as quickly.There are familiar roadmarks on the trip like news clips referring to the death of the gorilla Harambe at the Cincinnati Zoo and familiar vocal samples. But the rest is an interpretation of classic East Coast production, namely by Eric B. and RZA, as told to you by Jansport J.And just as New York City is a colorful mixing of personalities and backgrounds, so is p h a r a o h. The California producer allowed himself to experiment with nontraditional samples and ideas like triggering different clips of ODB shouting at the same time (“The Dirty II”) or having one of the most moving melodies play over a X-rated Facetime call (“ShowMeUMissMe”). To listen to p h a r a o h straight through is to wake up in Jansport J’s body that one cold January and relive his whole visit as he trekked to shows, listened to Paid in Full, and hit the reset button on his production habits. All in about 42 minutes.As he tells that story, you’ll hear hints of Madlib’s singular rhythms, Eric B.’s knock in the percussion, and J Dilla’s attention to sound design. But the change of pace for the creation of p h a r a o h wasn’t always so comfortable to live with for Jansport. Instead of letting the anxiety get to him, he reminded himself of one particular picture of Eric B. and Rakim standing in front of a red brick wall, and the resolute, silent confidence in Rakim’s eyes.This was Jansport J’s Rakim moment. While Jansport was still in the thick of completing this album, he told himself, “This is your weird, raw gritty album. Who cares if it sounds not super mixed? This is your fuckin’ album.” He owned it and because of it he has been able to find a new passion in working off of a clean slate.But before we get ahead of ourselves, sit down, hit play, and show respect to the Pharaoh.
Omar Souleyman's Bahdeni Nami, featuring productions by Four Tet, Gilles Peterson, Modeselektor, and Legowelt, is now available as a cassette, with download code included. Perhaps Syria's most successful musical export, international singer Omar Souleyman returns with his second proper studio effort and most personal album to date, Bahdeni Nami. For the album Souleyman opened his doors to collaborations with a number of renowned electronic producers, all of whom were established fans eager to offer unique interpretations of his sound. Four Tet returns to produce a track, Gilles Peterson lends his considerable talents to one song, Modeselektor turn in the two fastest dance numbers of the set, and Legowelt offers a remix of the title-track. Additionally, a 7" planned for release in August 2015 will feature a thoroughly distinctive remix of one of the album's heartrending ballads by The Black Lips' Cole Alexander (MONKEY 056RMX). Bahdeni Nami was recorded closer to home, in Istanbul, and appropriately the singer is joined by traditional accompaniment. Souleyman has reunited with his favorite poet, Ahmad Alsamer (who penned his pre-west hits "Kaset Hanzel," "Khattaba," and "Shift -al Mani"), heard throughout the album offering claps and wails of encouragement. The songs come alive with musical contributions and support from the virtuosic sax work of Khaled Youssef, another longtime collaborator from his hometown. Rizan Sa'id's keyboards improvise devotedly to every tune and turn of Souleyman's choice. The lyrics are familiar territory for the singer -- declarations of eternal love, consolation of one's aching heart, pleas to his lover to sleep in his arms forever -- realized as four fast dance numbers, an introduction mawal, and an elaborate araby style ballad. Omar Souleyman continues to tirelessly bring his wild dance party to all corners of the globe, everywhere from SXSW to the Nobel Peace Prize Concert to rock clubs in cities around the world. Originating from the Hasake region of Syria, Souleyman earned his reputation by singing and leading years of weddings, birthdays, christenings, corporate parties, and more, answering invitations from all peoples living in the region -- be they Muslims, Christians, Kurds, Iraqis, Syrians, Assyrians. Those parties yielded hundreds of cassette tapes at first offered as gifts and later distributed throughout the region and other Arab countries. Despite the world's insistence in associating him with his home country's unending war, Omar Souleyman gives back nothing but love.
My Chemical Romance release their posthumous greatest hits album - "May Death Never Stop You". The collection spans the decade-plus career of this remarkable band, whose unique, theatrical punk-pop sound earned them legions of devoted fans. MCR rose from the East Coast underground to the forefront of modern rock during the early 2000s to become a multi-platinum selling artist, with four commercially successful studio albums : I Brought You My Bullets, You Brought Me Your Love (2002), Three Cheers for Sweet Revenge (2004), The Black Parade (2006) and Danger Days: The True Lives of the Fabulous Killjoys (2010). In the form of one final hurrah one final single, Fake Your Death has been included on this album. The track is one of the last songs the band worked on in the studio together. As something of a eulogy for the band, frontman Gerard Way has rendered the track "...a service to those who believed in a band that did not compromise, and a wave goodbye to all. And yes, it is fucking heartbreaking."
Private Energy is the fifth album from Roberto Carlos Lange a.k.a. Helado Negro. Written and produced by Lange, the album is an interpersonal communication of sounds about his surroundings past, present, and future. Private Energy, which follows 2013’ s Invisible Life and 2014’ s tour de force Double Youth, continues the work Lange has done as an artist, culminating in the most captivating artistic statement of his career. The music draws from his expansive knowledge of sampling, sound synthesis, recording and history of references, and the album was created as a performance piece in tandem with his Tinsel Mammal dancers. Present at each Helado Negro show, the Tinsel Mammal dancers, costumed head-to-toe in silver strands, are a visual representation of sound and a sensual gateway to profoundly personal lyrics. The Tinsel Mammals are not representative of any human form. They work as a shimmering objects that represent the ideas of genderless and raceless beings and Private Energy’ s themes of self-love, pride, and the embrace of constant change.
Limited to 200 Cassettes! High-Bias aqua cassette tape with J-Card in a clear Norelco Box.
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Joseph Abajian (DJ Jab) founded Fat Beats in 1994 with nothing more than a shoestring budget and an earnest obsession with the music, the culture, and the brotherhood of New York’s burgeoning rap scene. What began as a simple vinyl shop in Manhattan’s Lower East Side quickly became an integral hub for artists, both aspiring and established, to convene and collaborate on new projects. Joseph’s timing couldn’t have been more impeccable. When the 90’s cultural zeitgeist – and, in turn, the music industry establishment – chose hip-hop as its new arbiter of cool.
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