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LP
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FTR 372LP
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"For the last while, Greg Dalton (aka Gary War) has been back in Massachusetts, after spending years working on his music down in twin Isles of Kiwi. Since returning he has popped up in the amazing psych duo, Dalthom (along with Sunburned's Rob Thomas), and even played with the legendary Bobb Trimble on a live Burger cassette, but Gaz Forth is the first new Gary War LP in over five years. Recorded with long-time collaborator, Daniel Rineer, as well as Robert Cathart III (Pigeons), Jeremy Pisani (Red Favorite), Kris Thompson (Abunai, Trimble), Clementine Nixon (Purple Pilgrims) and John Moloney (Sunburned), Gaz Forth hearkens back to some of the left-field pop amalgamations Mr. War had a hand in when he worked with Ariel Pink back in the early Oughts. Synths ripple at the edge of everything like space pistols fired into the face of Giorgio Moroder, there's the kind of mellotron/harmony-vocal blend one associates with Deram-era Moodies, the guitars blast out bubble-psych-readymades like runaway teenagers with scrips for Ketamine, and a bunch of the tunes remind me of what Golden Earring might sound like if heard from a great distance while riding one of those Whirling Teacup thingamabobs at full carny speed. There's much less of a hypnagogic synth-pop approximation on Gaz than has been noted on earlier Gary War records, but the futurist space squeedle remains part of his bad-ass and trademarked sound. Certainly the presence of living (rather than robotic) drummers gives Gaz a very different pulse. As zoned as the music gets at times, there's no mistaking its rockist base, so you start thinking of its brunt in terms of subliminal glam and spacer types rather than off-gas from sad Midwesterners. Gaz is far and away the finest slab yet released by Gary War. High bore post-garage freakery of the largest available gauge. Pick up your shotgun and walk." --Byron Coley, 2017 Edition of 300.
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7"
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CARE 711EP
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Gary War has produced a highly-considered body of work that's mostly been described as otherworldly, intergalactic, acid-drenched, warped, deranged, often apocalyptic but mostly dystopian, as music journalists try to decipher his original aesthetic. Arguably amongst his best work, this double A-side release of "Zontag" and "Don't Go Out" (Sacred Bones Records, 2009) demonstrates the continually-evolving and dense language of War's damaged viewpoint, developed since his debut album New Raytheonport (SHDWPLY Records, 2008, reissued by Care In The Community, 2013).
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CD
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SP 020CD
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It's been nearly two years since we've heard new music from Gary War and Spectrum Spools are excited to announce the release of his inevitable breakthrough Jared's Lot. Through the years we have heard the developments from the D.I.Y. psychedelia of New Raytheonport to the more current electronic acid-prog tracks we heard from Horribles Parade and the most recent Police Water EP. Jared's Lot brings the years of laboring and hard work full circle, with every facet of the project dialed into perfection. These tight and intelligently arranged pieces are the most concise and mind-blowing set of songs presented yet and we're sure you'll have a hard time taking this off your turntable. The album kicks off with the incredibly anthemic "Thousand Yard Stare," which asserts immediately that the album is very different than previous efforts, crafted with hindsight in mind and glowing with ambition. We can hear the melancholy voice of a man lost in the cosmos with nothing to lose going for broke, it's all or nothing. Tracks like "Superlifer" and "Pleading for Annihilation" contain such a powerful energy and pack such a wallop, that you won't possibly be able to stand still. There is a great juxtaposition however, with songs like "Advancements in Disgust" and "World After" experimenting with new styles of pop/rock structure and incorporation of odd rhythm and melody. Gary has a masterful control of his machines, and you can tell that countless hours were spent making sure that the vision came direct and absolutely pure, from his mind to the record you will hold in your hands. Even though we have a more synthetic-based set of tracks, it's apparent that these transmissions are messages that are based in our reality, evoking a boundless range of emotions throughout. The hectic fidelity of Gary War's previous recordings has morphed into a unique production style which rewards with its rich tone and multi-layered tiers of sound and melody. We are witnessing a huge leap forward in both sound and vision, respectively. Meanwhile, the alienated code hardly discernible to the listener and clever pop structure remains, and in top form, making this album a warmly received gift to the Spectrum Spools catalog. "Fear that man who has nothing to lose." Mastered by James Plotkin and cut at Dubplates and Mastering.
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LP
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SP 020LP
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LP version. It's been nearly two years since we've heard new music from Gary War and Spectrum Spools are excited to announce the release of his inevitable breakthrough Jared's Lot. Through the years we have heard the developments from the D.I.Y. psychedelia of New Raytheonport to the more current electronic acid-prog tracks we heard from Horribles Parade and the most recent Police Water EP. Jared's Lot brings the years of laboring and hard work full circle, with every facet of the project dialed into perfection. These tight and intelligently arranged pieces are the most concise and mind-blowing set of songs presented yet and we're sure you'll have a hard time taking this off your turntable. The album kicks off with the incredibly anthemic "Thousand Yard Stare," which asserts immediately that the album is very different than previous efforts, crafted with hindsight in mind and glowing with ambition. We can hear the melancholy voice of a man lost in the cosmos with nothing to lose going for broke, it's all or nothing. Tracks like "Superlifer" and "Pleading for Annihilation" contain such a powerful energy and pack such a wallop, that you won't possibly be able to stand still. There is a great juxtaposition however, with songs like "Advancements in Disgust" and "World After" experimenting with new styles of pop/rock structure and incorporation of odd rhythm and melody. Gary has a masterful control of his machines, and you can tell that countless hours were spent making sure that the vision came direct and absolutely pure, from his mind to the record you will hold in your hands. Even though we have a more synthetic-based set of tracks, it's apparent that these transmissions are messages that are based in our reality, evoking a boundless range of emotions throughout. The hectic fidelity of Gary War's previous recordings has morphed into a unique production style which rewards with its rich tone and multi-layered tiers of sound and melody. We are witnessing a huge leap forward in both sound and vision, respectively. Meanwhile, the alienated code hardly discernible to the listener and clever pop structure remains, and in top form, making this album a warmly received gift to the Spectrum Spools catalog. "Fear that man who has nothing to lose." Mastered by James Plotkin and cut at Dubplates and Mastering.
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