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BING 162LP
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LP version. "Some bands struggle to transcend their initial mythos, those stories that introduce them to the public eye. But The Dead C is a notable exception. They appeared in 1986 under a cloud of mystery, their unconventional location (South Island, New Zealand) helping to fuel their erratic sound. Name-dropped through the nineties by groups like Sonic Youth and Yo La Tengo, they gained influence and acclaim but never strayed from their original mainlined performing technique, which can sound like chaos to the casual listener. What kind of a world greets them and their new album Unknowns in 2020? New Zealand culture is better known throughout the world, not to mention a low-virus paradise. Yes, isolated as in the past, but this time for being a nation of efficacy in tackling a public health crisis. But what about the rest of the world? The music of Mssrs. Robbie Yates, Bruce Russell and Michael Morley endures, partially because their errant sounds, once so alienating, now feel like they've been made flesh in a large part of the modern-day world. Continuing to delve inwards for inspiration with tin ears towards trends, styles and technique, The Dead C forge onward. Unpolished, dusty and gritty, these three have again taken two guitars and drums, a combo which has less to say than ever, and leave the listener stunned. Unknowns has Morley slurring over spiraling dissemblance, with tracks ricocheting from intense to assaultive to drained, yet consistently magnificent. As reliable as ever, The Dead C are firmly grounded as an unassailable Truth."
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BING 163LP
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LP version. "Drawing the connections between Wendy Eisenberg's releases feels like undertaking a wide-ranging investigation. Albums of wildly inventive guitar, tempo-shifting avant rock and curiously leftfield pop fit together as offerings of Eisenberg's curious mind. On Auto, their most innovative and inner-reaching album yet, Eisenberg explores emotional, subjective truth, and how it interacts with an objectivity no person alone can grasp. Inspired by the solo work of Mark Hollis (Talk Talk) and David Sylvian's Blemish, with playing skills that have already seen them climbing Best Guitarist lists and an unvarnished vocal immediacy, Wendy Eisenberg has created an album of subtle display that resonates with maximal impact. Auto has multiple meanings. First, automobile: 'A lot of these songs were written about and mentally take place when I'm in the car on my way to gigs,' says Eisenberg. Immediate melodies came to them on these trips, to which they'd later add complex guitar parts. And automata: 'I make myself into a machine, which is why everything that's played is precise.' Finally, they frame their work in the literary technique of auto-fiction, 'the semi-fictionalized presentation of the self in a narrative form of growth,' as Eisenberg sees it. The album served as a means toward working through emotional conflicts from adolescent trauma and PTSD, and dissects the dissolution and conflict that led towards the breakup of their former band. With much of it written while its events played out, Auto faces the grief of losing what one thinks is their future while experiencing a dramatic reshaping of their past; it delves openly into the limited nature of one person's narrative. After making a few efforts to record Auto, Eisenberg ultimately chose to collaborate with childhood friend Nick Zanca, who contributes electronic elements and production. Mirroring the personal and organic offered by Eisenberg, synthetic sounds form a kind of boundary or context for everything. They 'sound like commentary on songs that were written from an organic or subjective perspective,' says Eisenberg. Their place on the album is integral for Eisenberg's goal 'to outweigh the subjectivity of normal singer-songwriter guitar songs with the objectivity of electronic sound.'"
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BING 162CD
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"Some bands struggle to transcend their initial mythos, those stories that introduce them to the public eye. But The Dead C is a notable exception. They appeared in 1986 under a cloud of mystery, their unconventional location (South Island, New Zealand) helping to fuel their erratic sound. Name-dropped through the nineties by groups like Sonic Youth and Yo La Tengo, they gained influence and acclaim but never strayed from their original mainlined performing technique, which can sound like chaos to the casual listener. What kind of a world greets them and their new album Unknowns in 2020? New Zealand culture is better known throughout the world, not to mention a low-virus paradise. Yes, isolated as in the past, but this time for being a nation of efficacy in tackling a public health crisis. But what about the rest of the world? The music of Mssrs. Robbie Yates, Bruce Russell and Michael Morley endures, partially because their errant sounds, once so alienating, now feel like they've been made flesh in a large part of the modern-day world. Continuing to delve inwards for inspiration with tin ears towards trends, styles and technique, The Dead C forge onward. Unpolished, dusty and gritty, these three have again taken two guitars and drums, a combo which has less to say than ever, and leave the listener stunned. Unknowns has Morley slurring over spiraling dissemblance, with tracks ricocheting from intense to assaultive to drained, yet consistently magnificent. As reliable as ever, The Dead C are firmly grounded as an unassailable Truth."
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BING 163CD
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"Drawing the connections between Wendy Eisenberg's releases feels like undertaking a wide-ranging investigation. Albums of wildly inventive guitar, tempo-shifting avant rock and curiously leftfield pop fit together as offerings of Eisenberg's curious mind. On Auto, their most innovative and inner-reaching album yet, Eisenberg explores emotional, subjective truth, and how it interacts with an objectivity no person alone can grasp. Inspired by the solo work of Mark Hollis (Talk Talk) and David Sylvian's Blemish, with playing skills that have already seen them climbing Best Guitarist lists and an unvarnished vocal immediacy, Wendy Eisenberg has created an album of subtle display that resonates with maximal impact. Auto has multiple meanings. First, automobile: 'A lot of these songs were written about and mentally take place when I'm in the car on my way to gigs,' says Eisenberg. Immediate melodies came to them on these trips, to which they'd later add complex guitar parts. And automata: 'I make myself into a machine, which is why everything that's played is precise.' Finally, they frame their work in the literary technique of auto-fiction, 'the semi-fictionalized presentation of the self in a narrative form of growth,' as Eisenberg sees it. The album served as a means toward working through emotional conflicts from adolescent trauma and PTSD, and dissects the dissolution and conflict that led towards the breakup of their former band. With much of it written while its events played out, Auto faces the grief of losing what one thinks is their future while experiencing a dramatic reshaping of their past; it delves openly into the limited nature of one person's narrative. After making a few efforts to record Auto, Eisenberg ultimately chose to collaborate with childhood friend Nick Zanca, who contributes electronic elements and production. Mirroring the personal and organic offered by Eisenberg, synthetic sounds form a kind of boundary or context for everything. They 'sound like commentary on songs that were written from an organic or subjective perspective,' says Eisenberg. Their place on the album is integral for Eisenberg's goal 'to outweigh the subjectivity of normal singer-songwriter guitar songs with the objectivity of electronic sound.'"
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BING 159CD
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"Creating what Iggy Pop described to Jim Jarmusch as 'symphonies for people that don't have a lot of time,' Sarah Lipstate has emerged as an innovative and defining voice in the world of music under the name Noveller. Wielding a guitar as her main instrument, Lipstate has pioneered a transcendent approach to composition through her mastery and integration of effects pedals and technology. Forming unexpected sonic routes, her songs are vivid and cinematic, telling intricate tales with each tone and swell. Raised on a strict piano technique, the discovery of the guitar late in her teens allowed for an escape from formalism and unlocked the hidden realms of her creativity. Taking an anti-theoretical approach, suddenly music was no longer a series of notes, rests, and time signatures, but a means of intuitive expression. Her deepened interest in experimental music, fueled by the discovery of the bold noise of Sonic Youth, the epic scope of Glenn Branca, the delicate formularies of Brian Eno and the no wave discordance of Teenage Jesus & The Jerks, only furthered to inspire. A yearning to explore and feed that creativity took her from Louisiana to Austin, then Brooklyn to LA. Arrow is her first album since the move to the edge of the canyons of Los Angeles, and one can hear the destabilizing effect this had on her in the music. Out of her comfort zone in a new city, with a rolling expanse in front of her and an urban sprawl over her shoulder, Lipstate built her new album as she contemplated this change in her life. With her ability to add such unique sounds and textures, Lipstate has been sought out as a frequent collaborator, recently writing songs with Iggy Pop and performing as a member of his band on his worldwide tour. Past partners in crime have ranged from JG Thirlwell to Lee Ranaldo and she has performed as part of Rhys Chatham's Guitar Army, Nick Zinner's '41 Strings', Ben Frost's 'Music for 6 Guitars', and Glenn Branca's 100 guitar ensemble. She has also toured in support of big fans in St. Vincent, Wire, U.S. Girls, The Jesus Lizard and Helium."
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BING 159LP
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LP version. "Creating what Iggy Pop described to Jim Jarmusch as 'symphonies for people that don't have a lot of time,' Sarah Lipstate has emerged as an innovative and defining voice in the world of music under the name Noveller. Wielding a guitar as her main instrument, Lipstate has pioneered a transcendent approach to composition through her mastery and integration of effects pedals and technology. Forming unexpected sonic routes, her songs are vivid and cinematic, telling intricate tales with each tone and swell. Raised on a strict piano technique, the discovery of the guitar late in her teens allowed for an escape from formalism and unlocked the hidden realms of her creativity. Taking an anti-theoretical approach, suddenly music was no longer a series of notes, rests, and time signatures, but a means of intuitive expression. Her deepened interest in experimental music, fueled by the discovery of the bold noise of Sonic Youth, the epic scope of Glenn Branca, the delicate formularies of Brian Eno and the no wave discordance of Teenage Jesus & The Jerks, only furthered to inspire. A yearning to explore and feed that creativity took her from Louisiana to Austin, then Brooklyn to LA. Arrow is her first album since the move to the edge of the canyons of Los Angeles, and one can hear the destabilizing effect this had on her in the music. Out of her comfort zone in a new city, with a rolling expanse in front of her and an urban sprawl over her shoulder, Lipstate built her new album as she contemplated this change in her life. With her ability to add such unique sounds and textures, Lipstate has been sought out as a frequent collaborator, recently writing songs with Iggy Pop and performing as a member of his band on his worldwide tour. Past partners in crime have ranged from JG Thirlwell to Lee Ranaldo and she has performed as part of Rhys Chatham's Guitar Army, Nick Zinner's '41 Strings', Ben Frost's 'Music for 6 Guitars', and Glenn Branca's 100 guitar ensemble. She has also toured in support of big fans in St. Vincent, Wire, U.S. Girls, The Jesus Lizard and Helium."
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BING 160CD
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"Snowgoose are proud to present their new album, The Making Of You, on Ba Da Bing Records. The follow-up to their critically acclaimed debut, Harmony Springs, this record sees the songwriting duo of guitarist Jim McCulloch and singer Anna Sheard supported by a who's who of Scottish pop music, including members of Belle And Sebastian and Teenage Fanclub. Tracing a line through '60s West Coast psychedelia and early '70s folk-rock, Snowgoose creates something timeless and unique, which transcends its influences to assert itself as modern and forward thinking. This album represents a new chapter in the Snowgoose story. While their 2012 debut was largely written by former Soup Dragons guitarist Jim McCulloch, the new songs see Sheard step forward as a lyricist and melodist. The result of this collaboration is a record of rare beauty and momentary intimacy, resulting in utter exuberance. McCulloch says, 'When we made the first album, I brought the bulk of the material to the party, written and ready to go. This time round, we decided to write together and it soon became clear that not only is Anna a peerless singer, she is also a wonderful lyricist.' Sheard adds, 'During the writing process, I was -- as usual -- listening to a swirling melting pot of artists, from Spanky And Our Gang, through Fleetwood Mac, to France Gall and Jobim.' Novelist Ian Rankin, who declared Snowgoose's debut one of the best albums of 2012, says, 'I was a huge fan of the first Snowgoose album and I'm equally excited by the follow-up. Such warmth and emotion, with great performances by the musicians and singer Anna Sheard. Fairport Convention, Incredible String Band, Pentangle and more come to mind, but Snowgoose add lyricism and delicacy of their own.' Del Amitri frontman Justin Currie adds, 'Jim McCulloch and Anna Sheard, with their troupe of Scottish alternative pop royalty, have made the kind of record that saved the easy listening genre in the early seventies. Think Sandy Denny crashing into a Jimmy Webb session armed with delicate west coast melodies and a little bag of very modern anxiety.'"
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BING 160LP
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LP version. "Snowgoose are proud to present their new album, The Making Of You, on Ba Da Bing Records. The follow-up to their critically acclaimed debut, Harmony Springs, this record sees the songwriting duo of guitarist Jim McCulloch and singer Anna Sheard supported by a who's who of Scottish pop music, including members of Belle And Sebastian and Teenage Fanclub. Tracing a line through '60s West Coast psychedelia and early '70s folk-rock, Snowgoose creates something timeless and unique, which transcends its influences to assert itself as modern and forward thinking. This album represents a new chapter in the Snowgoose story. While their 2012 debut was largely written by former Soup Dragons guitarist Jim McCulloch, the new songs see Sheard step forward as a lyricist and melodist. The result of this collaboration is a record of rare beauty and momentary intimacy, resulting in utter exuberance. McCulloch says, 'When we made the first album, I brought the bulk of the material to the party, written and ready to go. This time round, we decided to write together and it soon became clear that not only is Anna a peerless singer, she is also a wonderful lyricist.' Sheard adds, 'During the writing process, I was -- as usual -- listening to a swirling melting pot of artists, from Spanky And Our Gang, through Fleetwood Mac, to France Gall and Jobim.' Novelist Ian Rankin, who declared Snowgoose's debut one of the best albums of 2012, says, 'I was a huge fan of the first Snowgoose album and I'm equally excited by the follow-up. Such warmth and emotion, with great performances by the musicians and singer Anna Sheard. Fairport Convention, Incredible String Band, Pentangle and more come to mind, but Snowgoose add lyricism and delicacy of their own.' Del Amitri frontman Justin Currie adds, 'Jim McCulloch and Anna Sheard, with their troupe of Scottish alternative pop royalty, have made the kind of record that saved the easy listening genre in the early seventies. Think Sandy Denny crashing into a Jimmy Webb session armed with delicate west coast melodies and a little bag of very modern anxiety.'"
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BING 158CD
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"Katie Von Schleicher doesn't hold back. Her music, drenched in layers of warmth and fuzz, mines depression, devotion, power, and anxiety without reserve. But if channeling weighty subject matter is a constant in Von Schleicher's music, so too is transforming that material into sonic landscapes that defy expectations. On Von Schleicher's second record, Consummation, she blasts past the lo-fi power ballads of her debut Shitty Hits (2017) with a severe expansion of her sonic palette; its thirteen shape-shifting songs depict a deeply personal exploration of trauma. The result is both potent and listenable; strange and familiar; intense and entertaining -- and, perhaps most of all, teeming with life. Consummation is, in part, inspired by an alternate interpretation of Hitchcock's Vertigo. In 2018, Von Schleicher rewatched the seminal film and was struck by its largely unanalyzed subtext of abuse. She knew immediately that this hidden narrative, which spoke to her personal experience, would be the basis of her next album. While writing and engineering the record, she found sanctuary in the words of other women: namely, Carmen Maria Machado's Her Body and Other Parties, Rachel Cusk's Outline trilogy, and Rebecca Solnit's A Field Guide to Getting Lost. The latter proved particularly influential: Soon after revisiting Vertigo, Von Schleicher stumbled upon Solnit's lacerating take on the film. Solnit describes the 'wandering, stalking, haunting' of romantic pursuit that it depicts as 'consummation,' while 'real communion' -- understanding and mutual respect between two lovers -- is, to the men in the film, 'unimaginable.' The consequence is a fundamental failure of communication. At its core, Consummation evokes the pain of being unable to bridge that vast psychic distance between oneself and another."
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BING 158LP
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LP version. "Katie Von Schleicher doesn't hold back. Her music, drenched in layers of warmth and fuzz, mines depression, devotion, power, and anxiety without reserve. But if channeling weighty subject matter is a constant in Von Schleicher's music, so too is transforming that material into sonic landscapes that defy expectations. On Von Schleicher's second record, Consummation, she blasts past the lo-fi power ballads of her debut Shitty Hits (2017) with a severe expansion of her sonic palette; its thirteen shape-shifting songs depict a deeply personal exploration of trauma. The result is both potent and listenable; strange and familiar; intense and entertaining -- and, perhaps most of all, teeming with life. Consummation is, in part, inspired by an alternate interpretation of Hitchcock's Vertigo. In 2018, Von Schleicher rewatched the seminal film and was struck by its largely unanalyzed subtext of abuse. She knew immediately that this hidden narrative, which spoke to her personal experience, would be the basis of her next album. While writing and engineering the record, she found sanctuary in the words of other women: namely, Carmen Maria Machado's Her Body and Other Parties, Rachel Cusk's Outline trilogy, and Rebecca Solnit's A Field Guide to Getting Lost. The latter proved particularly influential: Soon after revisiting Vertigo, Von Schleicher stumbled upon Solnit's lacerating take on the film. Solnit describes the 'wandering, stalking, haunting' of romantic pursuit that it depicts as 'consummation,' while 'real communion' -- understanding and mutual respect between two lovers -- is, to the men in the film, 'unimaginable.' The consequence is a fundamental failure of communication. At its core, Consummation evokes the pain of being unable to bridge that vast psychic distance between oneself and another."
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BING 157CD
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"'I'm learning how to say goodbye / to let you go and face the tide / to wrap my feelings in a song,' sings Dana Gavanski on the title track of her debut album, Yesterday Is Gone. To wrap her feelings in a song: this is the task Gavanski has dedicated herself to with this record. By turns break-up album, project of curiosity, and, as Gavanski puts it, 'a reckoning with myself', Yesterday Is Gone is her attempt to 'learn to say what I feel and feel what I say': an album of longing and devotion to longing, and of the uncertainty that arises from learning about oneself, of pushing boundaries, falling hard, and getting back up. The record is a co-production between Gavanski, Toronto-based musician Sam Gleason, and Mike Lindsay of Tunng and LUMP. While Gleason helped Gavanski bring out the tunes, Lindsay's input marked 'the beginning of developing a sound that was closer to what I had in my head'. Though excited by the other elements of a song introduced during production, Gavanski and Lindsay were keen on 'finding essential things, not overblowing, keeping things bare and letting the elements speak for themselves'. The album shapeshifted as it passed through the hands of Gavanski, Gleason, and Lindsay, taking on different tastes, feelings, and visions. When Gavanski performed the songs with a band, they found new form again. She was intrigued by performers like David Bowie and Aldous Harding, who inhabit different personalities on stage, physically tuning themselves to their music. While on a crowded train last spring, Gavanski sang the Macedonian song "Jano Mome" to a cheering group of commuters. The moment, brief but beautiful, lays bare Gavanski's craving for live spontaneity. But it also reflects her injection of stylish drama and vivid emotion into the folk landscape that inspires her, from contemporary singers H Hawkline and Julia Holter, to stalwarts Fairport Convention, Anne Briggs, Connie Converse, and Judee Sill. Expressive urges run all through Yesterday Is Gone. Moments of beguilement splinter a backdrop of tenderly picked guitar, bass, synth, and poppier elements, which commune to produce her own kind of wall of sound. 'Often we have to go a little far in one direction to learn something about ourselves,' she says. The months of solitary writing and self-doubt testify to this, but they've led to Yesterday Is Gone: an optimistic, steely-eyed gaze into the future."
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BING 157LP
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LP version. "'I'm learning how to say goodbye / to let you go and face the tide / to wrap my feelings in a song,' sings Dana Gavanski on the title track of her debut album, Yesterday Is Gone. To wrap her feelings in a song: this is the task Gavanski has dedicated herself to with this record. By turns break-up album, project of curiosity, and, as Gavanski puts it, 'a reckoning with myself', Yesterday Is Gone is her attempt to 'learn to say what I feel and feel what I say': an album of longing and devotion to longing, and of the uncertainty that arises from learning about oneself, of pushing boundaries, falling hard, and getting back up. The record is a co-production between Gavanski, Toronto-based musician Sam Gleason, and Mike Lindsay of Tunng and LUMP. While Gleason helped Gavanski bring out the tunes, Lindsay's input marked 'the beginning of developing a sound that was closer to what I had in my head'. Though excited by the other elements of a song introduced during production, Gavanski and Lindsay were keen on 'finding essential things, not overblowing, keeping things bare and letting the elements speak for themselves'. The album shapeshifted as it passed through the hands of Gavanski, Gleason, and Lindsay, taking on different tastes, feelings, and visions. When Gavanski performed the songs with a band, they found new form again. She was intrigued by performers like David Bowie and Aldous Harding, who inhabit different personalities on stage, physically tuning themselves to their music. While on a crowded train last spring, Gavanski sang the Macedonian song "Jano Mome" to a cheering group of commuters. The moment, brief but beautiful, lays bare Gavanski's craving for live spontaneity. But it also reflects her injection of stylish drama and vivid emotion into the folk landscape that inspires her, from contemporary singers H Hawkline and Julia Holter, to stalwarts Fairport Convention, Anne Briggs, Connie Converse, and Judee Sill. Expressive urges run all through Yesterday Is Gone. Moments of beguilement splinter a backdrop of tenderly picked guitar, bass, synth, and poppier elements, which commune to produce her own kind of wall of sound. 'Often we have to go a little far in one direction to learn something about ourselves,' she says. The months of solitary writing and self-doubt testify to this, but they've led to Yesterday Is Gone: an optimistic, steely-eyed gaze into the future."
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BING 156LP
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LP version. "On the eponymously titled final song of her debut album Land Of No Junction, Irish songwriter Aoife Nessa Frances sings 'Take me to the land of no junction / Before it fades away / Where the roads can never cross / But go their own way." This search, indeed the heart of the album, recalls journeys towards an ever shifting centre -- a centre that cannot hold -- with maps that are constantly being rewritten. She writes: 'The album title is a result of a mishearing. Cian Nugent (Aoife's musical collaborator and co-producer) was telling me about childhood trips he made to Llandudno in Wales, passing through a station called Llandudno Junction... Land Of No Junction later became a place in itself. A liminal space -- a dark vast landscape to visit in dreams... A place of waiting where I could sit with uncertainty and accept it. Rejecting the distinct and welcoming the uncertain and the unknown.' The album is shot through with this sense of mystery -- an ambiguity and disorientation that illuminates songs with smokey luminescence. Yet, through the haze, everything comes down to what, where and who one is. With Land Of No Junction, she has built a universe full of intimacy and depth, with lyrics written through a process of free thought writing. It lends the record fluidity, each song in dialogue with the next not only through language, but the way each musical choice complements or threads into another: 'I would write without putting pressure on taking the song in any particular direction. It all carried itself naturally and instinctively with melody coming first and then structure later.' Written over several years, the songs traverse and inhabit this indeterminate landscape: the beginnings of love, moments of loss, discovery, fragility and strength, all intermingle and interact. Some songs -- like lead single 'Blow Up' -- date back to university days, where Frances studied film. Borrowing its title from the 1966 Antonioni picture of the same name, it indirectly provided the catalyst for Frances's broader considerations about being a woman and self-determination -- 'Blow Up' and 'Less Is More' were written before the abortion referendum was passed in Ireland in 2018 -- during time when women were forced to travel abroad during crisis pregnancies. They are both songs about being a woman and finding strength in a forever changing world."
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BING 151LP
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"While recording a group of songs that would end up being part of This World Just Eats Me Up Alive, Brian Crook took a break outside with his bandmates. A small girl nearby ran up to a woman saying 'Mommy, mommy! There's a vampire here!' The mother asked how the girl knew it was a vampire, and the girl said, 'He talks like this,' and proceeded to do a growling impression of a New Zealand accent. At the time, Brian was in a dark suit and had super long hair, and was playing badminton... Crook's new solo album comprises eight years of recording, so perhaps his undead appearance is not surprising; it comprises a span of inspiration that seems almost vampiric, with themes suggested by Greek mythology, a favorite 1960s author, to the abstract electronics of Aphex Twin and Arca as influences. The album came together in parts, slowly assembled with various contributors and recording locations, the earliest trace having lyrical origins from 1991, and was done during sessions for The Terminals, Crook's other band (you can also add NZ legends Scorched Earth Policy and Flies Inside The Sun to that list). A near decade provides a lot of material for reflective songwriting. In Crook's revelations about life in New Zealand and his tenebrous lyrical style there is more than a touch of comedy, albeit of a blackly humorous, 'South Island New Zealand' nature. The lyrics and music come from a similar place as New Zealand painters Bill Hammond and Tony de Latour, evoking a kind of ceremonial primitivism."
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BING 148CD
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"A meditative and endlessly turning clutch of songs, She Keeps Bees' Kinship reasserts the band's elegant power in a stream of loss and regeneration. Death, birth, both personal and in reflection of Earth itself emerge through Jessica Larrabee's focused, empowered voice. With Larrabee and Andy LaPlant's first album in four years, She Keeps Bees peels away their distorted guitars and fills the void with hypnotic organ, keyboards, strings, a tight bed of drum grooves, and a direct lyricism full of with wisdom and intention. This is an album that radiates its messages with deft knowledge and immeasurable strength. Since 2014's acclaimed Eight Houses, Larrabee cared for and lost her father before moving upstate with LaPlant to a New York cottage with a plan to start their own family. In this new, solitary and natural environment, they wrote and recorded this album over five months, joined by friends Kevin Sullivan (Last Good Tooth) on bass, Penn Sultan (Last Good Tooth) for guitar, and Eric Maltz, who lent strings, synthesizers and piano. Kinship addresses chaos by pointing beyond it, to the order that exists outside one's reach. As the duo settle upstate and begin planting roots for their future life together, She Keeps Bees have taken the long view and written odes to the irrevocable primacy of Nature."
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BING 148LP
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LP version. "A meditative and endlessly turning clutch of songs, She Keeps Bees' Kinship reasserts the band's elegant power in a stream of loss and regeneration. Death, birth, both personal and in reflection of Earth itself emerge through Jessica Larrabee's focused, empowered voice. With Larrabee and Andy LaPlant's first album in four years, She Keeps Bees peels away their distorted guitars and fills the void with hypnotic organ, keyboards, strings, a tight bed of drum grooves, and a direct lyricism full of with wisdom and intention. This is an album that radiates its messages with deft knowledge and immeasurable strength. Since 2014's acclaimed Eight Houses, Larrabee cared for and lost her father before moving upstate with LaPlant to a New York cottage with a plan to start their own family. In this new, solitary and natural environment, they wrote and recorded this album over five months, joined by friends Kevin Sullivan (Last Good Tooth) on bass, Penn Sultan (Last Good Tooth) for guitar, and Eric Maltz, who lent strings, synthesizers and piano. Kinship addresses chaos by pointing beyond it, to the order that exists outside one's reach. As the duo settle upstate and begin planting roots for their future life together, She Keeps Bees have taken the long view and written odes to the irrevocable primacy of Nature."
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BING 145-1LP
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"The Finklestein Universe expands! Upon releasing Finklestein last year, a theme album about a fictitious kingdom, Hamish Kilgour simultaneously put out Funklestein which saw two side-long tracks that delved deeper into Kilgour's fairytale world. Now, the fairytale grows even more nuanced, as Ba Da Bing presents Franklestein -- a series of radical remixes which use the Finklestein sessions as a starting point but, being 'frank,' are new compositions. Each track is an orchestra in a teacup, sounding like the best Velvet Underground boots suffused with dance beats, allowing unexpected room for autoharp, vibraphone and glockenspiel."
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BING 145-2LP
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"A companion release to Franklestein, Hamish Kilgour's ten-inch single is ready to bust onto damaged dance floors around the world! Two tracks originally conceived during the Finklestein sessions get their full due, with vibraphone, wistful saxophone and a driving beat that colors the fairytale setting Kilgour originally conceived for his 2018 release, Finklestein. 'M'Open' sets a groove and rides it like an evening on the town, while 'M'Close' reveals the dark underbellies said evening on the town could reveal."
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BING 149CD
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"Even in the Tremor marks Aly Spaltro aka Lady Lamb's latest full-length album following 2015's After and it's a remarkable achievement because, among other things, it's the first time in her career that Spaltro is singing explicitly about herself. 'I've never let myself be this exposed before,' she says, 'but this whole album is about facing who you are and fighting your way toward self-acceptance.' Between confessing a tantrum in a batting cage ('Little Flaws'), telling the story of her parent's kiddie-pool baptism ('Young Disciple') and singing openly about untangling her girlfriend's wet hair ('Deep Love'), this album is deeply rooted in the people and places, extraordinary and mundane, that have shaped Spaltro into the self-determining artist she is today. It took Spaltro almost a year to find the right co-producer. She initially attempted to make the record with an esteemed producer as she'd been advised but after being told that her arrangements needed rewriting by various veterans in the industry, Spaltro bravely changed direction and found a champion of her vision in Erin Tonkon, a less established producer whose six years working with Tony Visconti and later, David Bowie on his Grammy-winning Blackstar, made her more than qualified for the role. Benjamin Lazar Davis (Cuddle Magic, Kimbra, Okkervil River) played bass and piano and synthesizer. Jeremy Gustin (David Byrne, Albert Hammond Jr., Rubble Bucket) played drums. The group recorded at Figure 8 Studios in Brooklyn, New York. 'It's taken me years to get here,' she says, 'but I'm sort of done with hiding myself. I want to be as honest as I can because that's why people turn to art. Anybody can tell the difference between bullshit and real vulnerability.' This commitment to creating only what is necessary and urgently felt is the key to appreciating Spaltro's fearless songwriting, as emotional as it is philosophical. Even in the Tremor signifies the arrival of her most sonically soaring and brutally honest album to date."
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BING 149LP
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LP version. "Even in the Tremor marks Aly Spaltro aka Lady Lamb's latest full-length album following 2015's After and it's a remarkable achievement because, among other things, it's the first time in her career that Spaltro is singing explicitly about herself. 'I've never let myself be this exposed before,' she says, 'but this whole album is about facing who you are and fighting your way toward self-acceptance.' Between confessing a tantrum in a batting cage ('Little Flaws'), telling the story of her parent's kiddie-pool baptism ('Young Disciple') and singing openly about untangling her girlfriend's wet hair ('Deep Love'), this album is deeply rooted in the people and places, extraordinary and mundane, that have shaped Spaltro into the self-determining artist she is today. It took Spaltro almost a year to find the right co-producer. She initially attempted to make the record with an esteemed producer as she'd been advised but after being told that her arrangements needed rewriting by various veterans in the industry, Spaltro bravely changed direction and found a champion of her vision in Erin Tonkon, a less established producer whose six years working with Tony Visconti and later, David Bowie on his Grammy-winning Blackstar, made her more than qualified for the role. Benjamin Lazar Davis (Cuddle Magic, Kimbra, Okkervil River) played bass and piano and synthesizer. Jeremy Gustin (David Byrne, Albert Hammond Jr., Rubble Bucket) played drums. The group recorded at Figure 8 Studios in Brooklyn, New York. 'It's taken me years to get here,' she says, 'but I'm sort of done with hiding myself. I want to be as honest as I can because that's why people turn to art. Anybody can tell the difference between bullshit and real vulnerability.' This commitment to creating only what is necessary and urgently felt is the key to appreciating Spaltro's fearless songwriting, as emotional as it is philosophical. Even in the Tremor signifies the arrival of her most sonically soaring and brutally honest album to date."
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BING 147CD
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"A rare blend of eloquent lyrical craft and explorative musicianship, the songs of Tiny Ruins are etched into the memories of crowds and critics worldwide. Traversing influences that cross genre and era, the artistry of Hollie Fullbrook and her band spans delicate folk, lustrous dream pop and ebullient psychedelia. Building on the sparse arrangements and 'a novelist's eye for detail' (Uncut) cultivated over the past several years, the group's greatly anticipated third album Olympic Girls is replete with vital lyricism and galvanizing rhythms. Sparkling electric guitar jangles pull against the unique thrum of Fullbrook's acoustic as the cryptic poetry she is known for rings out. Hollie Fullbrook is no stranger to acclaim. Debut album Some Were Meant For Sea (2011) saw her name on billboards, playlists and blogs worldwide. The album's clutch of 'gorgeous vignettes' (BBC) put the artist on the map. Second album Brightly Painted One earned more accolades, championed by The New York Times, NPR and David Lynch, and winning Best Alternative Album at the New Zealand Music Awards in 2014. 'An album of quiet, devastating beauty', wrote Pop Matters. The album saw Fullbrook join forces with producer Tom Healy, whom, alongside long-time tour-mate bassist Cass Basil and drummer Alex Freer, Fullbrook has worked and toured with ever since. While spanning continents, the band won fans in critics, crowds and became a sought-after collaborator. A New York recording session culminated in the EP Hurtling Through (2015) with indie-rock legend Hamish Kilgour (The Clean), while 2016 single 'Dream Wave' was recorded and produced by award-winning cult filmmaker and musician David Lynch. Headhunted by Lorde for the Hunger Games soundtrack blueprint she curated, Fullbrook teamed up with legendary filmmaker Lynch for the collaboration. This album was made over a drawn out period of spontaneity and experimentation, stridently reaching beyond Fullbrook's formerly minimalist domain. Production from Tom Healy and Fullbrook is exercised with muscular aplomb; marrying the intricately woven poetics of Leonard Cohen, the shimmering dream-pop landscapes of Beach House or Mazzy Star, and the off-kilter experimental pop of Broadcast or John Cale."
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BING 147LP
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LP version. "A rare blend of eloquent lyrical craft and explorative musicianship, the songs of Tiny Ruins are etched into the memories of crowds and critics worldwide. Traversing influences that cross genre and era, the artistry of Hollie Fullbrook and her band spans delicate folk, lustrous dream pop and ebullient psychedelia. Building on the sparse arrangements and 'a novelist's eye for detail' (Uncut) cultivated over the past several years, the group's greatly anticipated third album Olympic Girls is replete with vital lyricism and galvanizing rhythms. Sparkling electric guitar jangles pull against the unique thrum of Fullbrook's acoustic as the cryptic poetry she is known for rings out. Hollie Fullbrook is no stranger to acclaim. Debut album Some Were Meant For Sea (2011) saw her name on billboards, playlists and blogs worldwide. The album's clutch of 'gorgeous vignettes' (BBC) put the artist on the map. Second album Brightly Painted One earned more accolades, championed by The New York Times, NPR and David Lynch, and winning Best Alternative Album at the New Zealand Music Awards in 2014. 'An album of quiet, devastating beauty', wrote Pop Matters. The album saw Fullbrook join forces with producer Tom Healy, whom, alongside long-time tour-mate bassist Cass Basil and drummer Alex Freer, Fullbrook has worked and toured with ever since. While spanning continents, the band won fans in critics, crowds and became a sought-after collaborator. A New York recording session culminated in the EP Hurtling Through (2015) with indie-rock legend Hamish Kilgour (The Clean), while 2016 single 'Dream Wave' was recorded and produced by award-winning cult filmmaker and musician David Lynch. Headhunted by Lorde for the Hunger Games soundtrack blueprint she curated, Fullbrook teamed up with legendary filmmaker Lynch for the collaboration. This album was made over a drawn out period of spontaneity and experimentation, stridently reaching beyond Fullbrook's formerly minimalist domain. Production from Tom Healy and Fullbrook is exercised with muscular aplomb; marrying the intricately woven poetics of Leonard Cohen, the shimmering dream-pop landscapes of Beach House or Mazzy Star, and the off-kilter experimental pop of Broadcast or John Cale."
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BING 139CD
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"Disguised as the meandering outpourings of vacant thought and activity dialed simultaneously from zero and ten. Formed in the cauldron of a fevered mistake resolute. Surrounded by ignorance, dis-interest, and the attention of the carefully self-selected. Recorded and burned through a thousand galaxies of dust and doubt and endless infinite wonder, transforming both time and space. Forever exiled to the very bottom of the world to reflect on the struggling desperate pile above. Recognizing any contribution as miniscule and insignificant when placed within the greatness of the other, the dominant insolent preening satisfied, continually shouting the pre-eminence of the first world order. The latest by The Dead C -- Rare Ravers: it's a long player."
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BING 139LP
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2019 repress; LP version. "Disguised as the meandering outpourings of vacant thought and activity dialed simultaneously from zero and ten. Formed in the cauldron of a fevered mistake resolute. Surrounded by ignorance, dis-interest, and the attention of the carefully self-selected. Recorded and burned through a thousand galaxies of dust and doubt and endless infinite wonder, transforming both time and space. Forever exiled to the very bottom of the world to reflect on the struggling desperate pile above. Recognizing any contribution as miniscule and insignificant when placed within the greatness of the other, the dominant insolent preening satisfied, continually shouting the pre-eminence of the first world order. The latest by The Dead C -- Rare Ravers: it's a long player."
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BING 137CD
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"Sarah Davachi has quickly risen in prominence since her first release five years ago, and Gave In Rest represents her highest artistic achievement. By infusing her compositional style within a predilection for medieval and Renaissance music, Davachi unearths a new realm of musical reverence, creating works both contemplative and beatific, eerie yet essentially human. Gave In Rest is a modern reading of early music, reforming sacred and secular sentiments to fit her purview and provide an exciting new way to hear the sounds that exist around us. Between January and September of 2017, Sarah Davachi lived in flux; storing her belongings in Vancouver, she spent the summer in Europe, occasionally performing in churches and lapidariums and seeking respite from her transitional state while surrounded by such storied history. This latest album echoes that emotional state of solitude and ephemerality, reaching towards familiar musical landscapes but from oblique perspectives. 'I named each track after a particular time of day as a way of expressing my experiencing different moments of quietude, how morning and night are both independent and interconnected entities in this regard,' she says. Her titles evoke canonical phrases referring to morning or evening prayers, as well as Latin and German phrasings for metaphors about the time of day. 'From my perspective, there is a lot of loneliness on this record, and I think it is as much about beginnings as endings,' she continues. 'In a way, it's about the prospect of the unknown as it manifests alongside a very inward form of grieving - really the essence of what constitutes a period of transition.' Davachi has mined a bottomless landscape where listeners can witness music's participation in their solitudes. Gave In Rest lends a voice to her personal exploration with a firm, intuitive stance."
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