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CD
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DC 994CD
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$13.50
PREORDER
RELEASE DATE: 9/25/2026
"Keen listeners who have dug below the surface of Oren Ambarchi's triple-digit discography know that alongside hypnotic minimalism, veins of irreverent and joyously wayward exploration run deep. Cooked is something of a landmark in Oren's work, bringing this gloriously cuckoo sensibility right into the heart of his most high-profile solo work. Carrying on the grand Ambarchi tradition of meticulously constructed all-star studio jams, Cooked brings together collaborators from Australia, Germany, Japan and Sweden for two side-long epics where the foot keeps tapping even as the mind boggles. Beginning with piano ripples from Eiko Ishibashi, after only a few seconds 'Hidden Tableau' takes an unexpected turn with the entrance of a groaning synthetic voice. The first half of the piece develops as an oddly moving concerto for this moaning and growling ghost in the machine and a delicate backdrop of piano, organ-like tones, and Oren's signature shimmering Leslie guitar. As the beautifully flexible swing of Joe Talia's drums enters, the harmonies fill out into woozy clouds and the synthetic voice seems to morph into something approaching a mutant trumpet. In a left turn that seems to come out of nowhere yet make an inexplicable kind of sense, the piece is then overtaken by patterns of intricate guitar and synthetic arpeggios. These might be Jim O'Rourke on synth, but who knows? Cooked is a long way from the spacious, light-dappled grooves of Ghosted, but Oren's Swedish bandmates play starring roles here, with Johan Berthling's double bass anchoring both sides, and drummer Andreas Werliin lending his delicate touch to the second piece, 'Sleight of Hand.' Beginning with glistening layers of electric 12-string guitar, 'Sleight of Hand' takes some key cues from electric Miles touchstones like 'Feio' or his epic take on David Crosby's 'Guinnevere,' with Berthling's sparse basslines punctuating an almost weightless cornucopia of shifting detail, glimmering with subtle contributions from Michiko Ogawa on sho and James Rushford on a panoply of acoustic keyboards. Suddenly, everything is overwhelmed by a knotty, hyper-complex 'solo' from Marcus Pal on digital synthesis, teleporting us to an alternate history where Allan Holdsworth traded the SynthAxe for Xenakis' UPIC. Building with additional drums and percussion from Will Guthrie to a peak of sizzling intensity, the music then goes sideways into a gently surreal coda, where some distinctly Zawinul-esque chords and Fredrik Rasten's guitar float over a sprightly rhythm box, the avian inventions of Swedish virtuoso whistler Isak Hedtjärn wafting atop the sunlit stew. It's certainly Cooked, but not overcooked."
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LP
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DC 994LP
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$25.00
PREORDER
RELEASE DATE: 9/25/2026
LP version. "Keen listeners who have dug below the surface of Oren Ambarchi's triple-digit discography know that alongside hypnotic minimalism, veins of irreverent and joyously wayward exploration run deep. Cooked is something of a landmark in Oren's work, bringing this gloriously cuckoo sensibility right into the heart of his most high-profile solo work. Carrying on the grand Ambarchi tradition of meticulously constructed all-star studio jams, Cooked brings together collaborators from Australia, Germany, Japan and Sweden for two side-long epics where the foot keeps tapping even as the mind boggles. Beginning with piano ripples from Eiko Ishibashi, after only a few seconds 'Hidden Tableau' takes an unexpected turn with the entrance of a groaning synthetic voice. The first half of the piece develops as an oddly moving concerto for this moaning and growling ghost in the machine and a delicate backdrop of piano, organ-like tones, and Oren's signature shimmering Leslie guitar. As the beautifully flexible swing of Joe Talia's drums enters, the harmonies fill out into woozy clouds and the synthetic voice seems to morph into something approaching a mutant trumpet. In a left turn that seems to come out of nowhere yet make an inexplicable kind of sense, the piece is then overtaken by patterns of intricate guitar and synthetic arpeggios. These might be Jim O'Rourke on synth, but who knows? Cooked is a long way from the spacious, light-dappled grooves of Ghosted, but Oren's Swedish bandmates play starring roles here, with Johan Berthling's double bass anchoring both sides, and drummer Andreas Werliin lending his delicate touch to the second piece, 'Sleight of Hand.' Beginning with glistening layers of electric 12-string guitar, 'Sleight of Hand' takes some key cues from electric Miles touchstones like 'Feio' or his epic take on David Crosby's 'Guinnevere,' with Berthling's sparse basslines punctuating an almost weightless cornucopia of shifting detail, glimmering with subtle contributions from Michiko Ogawa on sho and James Rushford on a panoply of acoustic keyboards. Suddenly, everything is overwhelmed by a knotty, hyper-complex 'solo' from Marcus Pal on digital synthesis, teleporting us to an alternate history where Allan Holdsworth traded the SynthAxe for Xenakis' UPIC. Building with additional drums and percussion from Will Guthrie to a peak of sizzling intensity, the music then goes sideways into a gently surreal coda, where some distinctly Zawinul-esque chords and Fredrik Rasten's guitar float over a sprightly rhythm box, the avian inventions of Swedish virtuoso whistler Isak Hedtjärn wafting atop the sunlit stew. It's certainly Cooked, but not overcooked."
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CD
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DC 980CD
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$13.50
PREORDER
RELEASE DATE: 8/28/2026
"In the spring of 2025, right around the release of Possession, Ty Segall started hearing voices, calmly at first, but soon screaming: 'Get the band back together!!!' Immediately, his mind began working, creating, collecting and collating riffs for songs, an album that he and the band -- Ben Boye, Evan Burrows, Mikal Cronin, Emmett Kelly -- will come to all call Chrome. Chrome -- the element, not the album -- is shiny, reflective, resistant to corrosion. Chrome the album's got that too: in hard-springing rock strung with lyrically allusive passages moving furtive and bleak through labyrinthine paths in the darkness. Joining social phenomena and autobiographical dream imagery in song-sequenced, head-snapping flashes, hitting left/right hemispheres fast and furiously. In massive riffs and thudding power in the rhythm core, twin-guitar attack and parry, tightly arrayed lines of fuzz distortion, keyboard textures of bright and thickness. All mixed immediate and flexible, colorful and clean, spicy-sweet, with Ty's vocals of vinegar and sand, wine and grains of silver nitrate, pointing the way. That's Chrome. The band came together fast and hard, their five heads writing half the songs here, with others featuring Ty and Evan collabing, Matt Yoka and Denée Segall writing some too. Accounting for its high-performing social nature and hot rocks. Its guitars slammed immaculate, big waves and dark apocolypto energy bonfires on the beach, from proto to punk to grunch, projected from the crowd-sourced energy of their mind-meld to shake the cages of the larger collective beyond. RIYL: Television, Blue Oyster Cult, The Adolescents, Pink Fairies, Iggy, Crazy Horse, Nirvana."
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LP
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DC 980LP
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$27.00
PREORDER
RELEASE DATE: 8/28/2026
LP version. "In the spring of 2025, right around the release of Possession, Ty Segall started hearing voices, calmly at first, but soon screaming: 'Get the band back together!!!' Immediately, his mind began working, creating, collecting and collating riffs for songs, an album that he and the band -- Ben Boye, Evan Burrows, Mikal Cronin, Emmett Kelly -- will come to all call Chrome. Chrome -- the element, not the album -- is shiny, reflective, resistant to corrosion. Chrome the album's got that too: in hard-springing rock strung with lyrically allusive passages moving furtive and bleak through labyrinthine paths in the darkness. Joining social phenomena and autobiographical dream imagery in song-sequenced, head-snapping flashes, hitting left/right hemispheres fast and furiously. In massive riffs and thudding power in the rhythm core, twin-guitar attack and parry, tightly arrayed lines of fuzz distortion, keyboard textures of bright and thickness. All mixed immediate and flexible, colorful and clean, spicy-sweet, with Ty's vocals of vinegar and sand, wine and grains of silver nitrate, pointing the way. That's Chrome. The band came together fast and hard, their five heads writing half the songs here, with others featuring Ty and Evan collabing, Matt Yoka and Denée Segall writing some too. Accounting for its high-performing social nature and hot rocks. Its guitars slammed immaculate, big waves and dark apocolypto energy bonfires on the beach, from proto to punk to grunch, projected from the crowd-sourced energy of their mind-meld to shake the cages of the larger collective beyond. RIYL: Television, Blue Oyster Cult, The Adolescents, Pink Fairies, Iggy, Crazy Horse, Nirvana."
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2LP
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DC 314LP
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$32.00
PREORDER
RELEASE DATE: 8/28/2026
"Arriving right on time for its 20th anniversary, Faun Fables' musical theater work The Transit Rider returns in a lovely 2LP vinyl edition that dimensionally burnishes the bristling performances and elevated chamber/cabaret folk sounds of the original CD-only release. At once a work of theatre, allegory and autobiography, The Transit Rider amplifies Faun Fables' distinctive electroacoustic wash of Anglo-European folk sounds, shimmering allusively from traditional to Kurt Weill to folk-rock and back again. The route that led to The Transit Rider goes back even further than 2006; it was first embarked upon in the early '90s, when Dawn McCarthy moved to NYC and was introduced to the transient and constant glories of its subway system, a massive world unto itself. As she rode the trains, the subterranean, singing landscape suggested a journey in song: a rider aboard a ubiquitous transit system, a network of rails, roads, corridors and trails extending in all directions, meeting itself again on the far side of the world. Upon this endless circuitous path, she encounters characters that may or may not help her search to find a clearing amid this mass of machinery and humanity in which to stop and have a picnic. In 2001, The Transit Rider took the form of a full-length theater production in San Francisco, with a cast of thirteen aided by the inspiring work of director/lighting designer Allen Willner. Its music was further developed/recorded/adapted into a touring show by Dawn and her stalwart co-conspirator Nils Frykdahl, joined by multi-instrumentalists Jenya Chernoff and Matt Lebofsky. The album features contributions by Dawn's mother Michelina Tyrie and father Will McCarthy, with thematically related songs by Zygmunt Konieczny, Soeur Sourire, and the Anglo Saxon traditional 'House Carpenter' added to the mix. For the LP release, the artwork has been revamped, featuring previously unseen photos of the original stage show and the touring cast that followed. As with all Faun Fables music, the sweep of history and the voices of the people thrillingly coincide in the songs and singing of The Transit Rider. The project's conceptual/theatrical properties give it a special pride of place in Faun Fables lore. Fortunately, all capricious mists of time have parted just in time for The Transit Rider's 20th anniversary celebration. The Transit Rider combines Faun Fables' distinctive song-telling style with their full-hearted/throated thespian energies, rumbling trippily past flashing lights and strangers in thirteen exquisite folk-cabaret urban anthems, a pungent masterpiece of 21st century folk rock."
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Cassette
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DC 980CS
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$12.00
PREORDER
RELEASE DATE: 8/28/2026
Cassette version. "In the spring of 2025, right around the release of Possession, Ty Segall started hearing voices, calmly at first, but soon screaming: 'Get the band back together!!!' Immediately, his mind began working, creating, collecting and collating riffs for songs, an album that he and the band -- Ben Boye, Evan Burrows, Mikal Cronin, Emmett Kelly -- will come to all call Chrome. Chrome -- the element, not the album -- is shiny, reflective, resistant to corrosion. Chrome the album's got that too: in hard-springing rock strung with lyrically allusive passages moving furtive and bleak through labyrinthine paths in the darkness. Joining social phenomena and autobiographical dream imagery in song-sequenced, head-snapping flashes, hitting left/right hemispheres fast and furiously. In massive riffs and thudding power in the rhythm core, twin-guitar attack and parry, tightly arrayed lines of fuzz distortion, keyboard textures of bright and thickness. All mixed immediate and flexible, colorful and clean, spicy-sweet, with Ty's vocals of vinegar and sand, wine and grains of silver nitrate, pointing the way. That's Chrome. The band came together fast and hard, their five heads writing half the songs here, with others featuring Ty and Evan collabing, Matt Yoka and Denée Segall writing some too. Accounting for its high-performing social nature and hot rocks. Its guitars slammed immaculate, big waves and dark apocolypto energy bonfires on the beach, from proto to punk to grunch, projected from the crowd-sourced energy of their mind-meld to shake the cages of the larger collective beyond. RIYL: Television, Blue Oyster Cult, The Adolescents, Pink Fairies, Iggy, Crazy Horse, Nirvana."
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Cassette
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DC 988CS
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$12.00
PREORDER
RELEASE DATE: 7/31/2026
Cassette version. "Sir Richard Bishop returns for a new spontaneous six-string meshing of people's music, recollections and psychic intentions. Are y'all ready for some Hillbilly Erotica? Migration from last album's Ragas to this new Erotica is another chapter in Bishop's progress, drifting via songs into the further frontiers of his pappy's hometown sounds, trancing over and out in their hand-me-down clothes. As with the ragas, the 'rotica's hung round the neck of John Fahey's infamous dubbing of certain traditional American folk sounds as 'American Primitive.' A perfectly good thought, but Sir Richard picks his own axe and chose a separate path. Rushing through gutters and picking pickled brains in the saucy headwaters of the down-low and literal American primitive, his hillbilly music is a mash of brined cultural inheritance, mini-ragas and moonshine-drunk savagery breaking out on the frets. As a conception for Sir Rick's acoustic guitar music, it's a dynamite means and frame, centering his improvisations in a place overflown with pagan desire and unbound in deliverance. Here he flies up and down the neck, his manner less pristine, yet more exquisite, a flailing, flowing-on-the-river medley through stubborn whitewater turbulence, post-grass and folk's classical gas. Anybody who takes a snort of this here Hillbilly Erotica will find a frankly spellbinding richness of intent and execution in their ear-mouths. And may thereafter find brain and blightness. It's fine! Like with Hillbilly Ragas, Sir Richard plays one acoustic guitar on all eight Hillbilly Erotica cuts, no overdubs and, but for the closing 'Postcoital Serenade,' improvised entirely. The not-so-sexy 'sexy' angle of song titles like 'Lick Skillet,' 'Sweet Lips,' 'Hookers Bend,' and 'Finger, Tennessee' is actually actual names for dots on the map in rural TN, each one just five minutes removed -- by horse, of course -- from Richard's dad's remote Enville homestead, its town name purloined previously for a song on 2020's Oneiric Formulary. This ancestral interzone's a venue of interest for Rick, allowing him to ask the deep questions, like 'What the hell has been going on around here with place names like these?' while running down the changes like no one else before. Hillbilly Erotica promises unspoken wonders of the world around each and every dark corner, revelations of legacy, a new spyglass to sight your forebears! Imagined American music at its most gorgeous and violent, simply achieved by Sir Richard Bishop through a powerful application of steel-stringed instrumentation and delightfully exhaustive flights of speculative thought."
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CD
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DC 988CD
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$13.50
PREORDER
RELEASE DATE: 7/31/2026
"Sir Richard Bishop returns for a new spontaneous six-string meshing of people's music, recollections and psychic intentions. Are y'all ready for some Hillbilly Erotica? Migration from last album's Ragas to this new Erotica is another chapter in Bishop's progress, drifting via songs into the further frontiers of his pappy's hometown sounds, trancing over and out in their hand-me-down clothes. As with the ragas, the 'rotica's hung round the neck of John Fahey's infamous dubbing of certain traditional American folk sounds as 'American Primitive.' A perfectly good thought, but Sir Richard picks his own axe and chose a separate path. Rushing through gutters and picking pickled brains in the saucy headwaters of the down-low and literal American primitive, his hillbilly music is a mash of brined cultural inheritance, mini-ragas and moonshine-drunk savagery breaking out on the frets. As a conception for Sir Rick's acoustic guitar music, it's a dynamite means and frame, centering his improvisations in a place overflown with pagan desire and unbound in deliverance. Here he flies up and down the neck, his manner less pristine, yet more exquisite, a flailing, flowing-on-the-river medley through stubborn whitewater turbulence, post-grass and folk's classical gas. Anybody who takes a snort of this here Hillbilly Erotica will find a frankly spellbinding richness of intent and execution in their ear-mouths. And may thereafter find brain and blightness. It's fine! Like with Hillbilly Ragas, Sir Richard plays one acoustic guitar on all eight Hillbilly Erotica cuts, no overdubs and, but for the closing 'Postcoital Serenade,' improvised entirely. The not-so-sexy 'sexy' angle of song titles like 'Lick Skillet,' 'Sweet Lips,' 'Hookers Bend,' and 'Finger, Tennessee' is actually actual names for dots on the map in rural TN, each one just five minutes removed -- by horse, of course -- from Richard's dad's remote Enville homestead, its town name purloined previously for a song on 2020's Oneiric Formulary. This ancestral interzone's a venue of interest for Rick, allowing him to ask the deep questions, like 'What the hell has been going on around here with place names like these?' while running down the changes like no one else before. Hillbilly Erotica promises unspoken wonders of the world around each and every dark corner, revelations of legacy, a new spyglass to sight your forebears! Imagined American music at its most gorgeous and violent, simply achieved by Sir Richard Bishop through a powerful application of steel-stringed instrumentation and delightfully exhaustive flights of speculative thought."
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LP
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DC 985LP
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$25.00
PREORDER
RELEASE DATE: 7/31/2026
"Prison's third big one, Big Rigs on the BQE, finds the jammers of legend far away -- miles from Downstate (2025) and Upstate (2023): driving further down the road, Prison's guitar, bass and drums compel them to dream LOUD. An improvised rock and roll tapestry, multiple impulses, intersections and lifelines rended with gas 'n guitar pedal on down to the metal. Reflecting real lives lived today, sprawled and recalled in undulating electroacoustic performance. On March 7th 2024, Prison vets Sarim Al-Rawi, Matt Lilly, and Paul Major on guitars and drums were joined by Mike Donovan on fuzz organ, percussionist Ryan Sawyer and Downstate's Matt Leibowitz (back on bass, and synth too this time) at a Sunset Park studio where they could see the fucking highway from the studio windows. It kind of set the tone. Downstate guitarist Adam Reich switched it up too; as studio honcho/engineer/mixer, he scored a couple FX/remix passages that are of the performance on both sides. Big Rigs on the BQE is the sound of Sarim, Matt, Paul, Mike, Ryan, Matt and Adam in wicked battle and glorious play, a far-ranging scrum of Groundhogs/Velvets/Hampton's/Pink Fairies/Magic Band/ Good Rats/Can propositions powering guitars, bass, drums and organ (and synth!) that day: a beast, imagining a better allegory for qualities of the 'spirit of the jam/road trip' duality. Paul and Sarim's vocal shouts transmit a kind of road-thoughts as they come, circular processing loosely knotted loops in different ranges and a couple different levels! These are deep, searing, multipurpose jams. Big Rigs on the BQE is a kind of travelogue, two side-long trips that take flight and fight another day in the never-ending process. It's a beautiful opportunity to send new blasts of positive energy out to the world. Prison of one, freedom of many!"
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LP
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DC 987LP
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$23.00
PREORDER
RELEASE DATE: 7/31/2026
"Time stands stunningly still on The Final Painting, the dreamy, elegiac final album from legendary underground singer-songwriter/poet/painter Ed Askew. Ed started his singing career in 1968 with a self-titled LP release on NYC's infamous freejazz/free-folk ESP-Disk' label. Upon returning to New York in the early '80s, he began circulating cassettes of his self-recorded new songs. This was a fascinating and unlikely new chapter in his music, but only a few noticed. In the years following, additional new and archival Askew recordings have been released through Tin Angel, Drag City and Improved Sequence Records. By the time Ed turned 80 in 2020, his health was declining to the point that touring was impossible and even leaving his place was a challenge. In his Brooklyn apartment, he continued to tape new songs, posting them on his Bandcamp page. Their stark and fragile quality was singular, inspiring thoughts of a new production fleshing out Ed's two-track home recordings. Ed was into it; he forwarded nearly three dozen songs in different stages of completion and the two plotted a path forward. For the World featured acoustic piano, banjo and harp; the songs here, played by Ed on keyboards, synth and harmonica suggested trumpet, tenor saxophone and other sonic touches to expand their existentially lonely sound. Health scares for both men delayed things until early 2024, when various musicians recorded their parts either at home or in a Nashville Studio, with Styrofoam Winos' Trevor Nikrant and Ryan Davis's Roadhouse Band taking their turns almost in response to one another. The Final Painting not only defies the curse of sequels and the ten-year gap between the two DeCicca/Askew productions, it's also a wonderous variation on the intimacy of the self-portrait, an expression from the twilight of one of the most unique artists to emerge in last half of the 20th century. The Final Painting reinvites For the World contributors Sharon Van Etten, Eve Searls, and Canaan Faulkner, and new guests Bill Callahan, William Tyler, Ryan Jewell, Dustin Laurenzi, and Fulvio Sigurta. In their last conversation, just days before Ed passed in January 2025, he and Jerry agreed to: a) use the painting left on the easel of Ed's now-empty apartment and b) call the album The Final Painting. Profoundly resonant in the style of Frank Sinatra's Watertown and David Bowie's Blackstar, The Final Painting is faithful to the spirit of Ed Askew and his DIY nature and Modernist values, pursued for years and years throughout life, art and music, all the way to the very end."
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LP
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DC 988LP
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$20.00
PREORDER
RELEASE DATE: 7/31/2026
LP version. "Sir Richard Bishop returns for a new spontaneous six-string meshing of people's music, recollections and psychic intentions. Are y'all ready for some Hillbilly Erotica? Migration from last album's Ragas to this new Erotica is another chapter in Bishop's progress, drifting via songs into the further frontiers of his pappy's hometown sounds, trancing over and out in their hand-me-down clothes. As with the ragas, the 'rotica's hung round the neck of John Fahey's infamous dubbing of certain traditional American folk sounds as 'American Primitive.' A perfectly good thought, but Sir Richard picks his own axe and chose a separate path. Rushing through gutters and picking pickled brains in the saucy headwaters of the down-low and literal American primitive, his hillbilly music is a mash of brined cultural inheritance, mini-ragas and moonshine-drunk savagery breaking out on the frets. As a conception for Sir Rick's acoustic guitar music, it's a dynamite means and frame, centering his improvisations in a place overflown with pagan desire and unbound in deliverance. Here he flies up and down the neck, his manner less pristine, yet more exquisite, a flailing, flowing-on-the-river medley through stubborn whitewater turbulence, post-grass and folk's classical gas. Anybody who takes a snort of this here Hillbilly Erotica will find a frankly spellbinding richness of intent and execution in their ear-mouths. And may thereafter find brain and blightness. It's fine! Like with Hillbilly Ragas, Sir Richard plays one acoustic guitar on all eight Hillbilly Erotica cuts, no overdubs and, but for the closing 'Postcoital Serenade,' improvised entirely. The not-so-sexy 'sexy' angle of song titles like 'Lick Skillet,' 'Sweet Lips,' 'Hookers Bend,' and 'Finger, Tennessee' is actually actual names for dots on the map in rural TN, each one just five minutes removed -- by horse, of course -- from Richard's dad's remote Enville homestead, its town name purloined previously for a song on 2020's Oneiric Formulary. This ancestral interzone's a venue of interest for Rick, allowing him to ask the deep questions, like 'What the hell has been going on around here with place names like these?' while running down the changes like no one else before. Hillbilly Erotica promises unspoken wonders of the world around each and every dark corner, revelations of legacy, a new spyglass to sight your forebears! Imagined American music at its most gorgeous and violent, simply achieved by Sir Richard Bishop through a powerful application of steel-stringed instrumentation and delightfully exhaustive flights of speculative thought."
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Cassette
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DC 976CS
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Cassette version. "On Stash, the absolutely energy-drenched second album from BCMC, the guitar and keys duo soars through waves of pleasant rhythmic turbulence on the way to show listeners just what they got. Needle down: increased activity dubs and baubles the sonic surface of BCMC's Stash planet. Waves from Arabian, Indian, Flamenco and Soul groove in alliance under the expanse of an all-world flag, representing a borderless pursuit of cosmic music moments in the hand, of/by/for all the people of folk, rock and jazz, psych, west coast psych, prog, DIY, experimental, traditional, programmatic, impressionistic, liturgic, electric! Maybe it's in the DNA between Cooper Crain on organ and synth and Bill MacKay on guitar -- BCMC's groove-based understanding/space-based alignment of purpose is two-headed (four-handed) intuition in music, aurally forming whenever playing, composing, improvising, or all the above. Stash is part guitar and keyboard recital, part unbridled electroacoustic assembly of spontaneous international deep and wide sounds. Happening between them, somehow. Like the time: guitar and keyboard pushing, then pulling back in space. The sound of two people agreeing on this. Patterns emerge, units form, and then, we feel BCMC alive in the wide-open air of the room. Also in Stash: written things, shorter strands, riffs, prog/funk/church organ breaks, psychedelic blues-rock soloing on synth. Echoes of Floyd/Doors/Deep Purple/Iron Butterfly/Velvets/Can wove into a jangly nest, then trembled with an occasional British folk peregrination. Insistent chord/rhythm discovery: jam it out. Having taped, take a second pass in places. Improvisation, layers, inner-player dialogues revolve the flow, open it up. Drop the needle down into Stash anywhere. You find one sonic widescreen or another in time. Vivid, judiciously-tripped minimalist songs; tropical soundtrack capacity and time, horizons and water flown in from the border, fine frontier and mellow high. Stash was recorded on half-inch 8-track tape by Greg Norman at Electrical Audio, then recorded more and mixed to 1/2" 2-track tape at Sweat Loge by Cooper and Bill. Stash's different textural feel is down to wondering about, then dialing details in the sound, getting good signal in a few good spaces with a few new (old) machines in the chain. And in the mix, not a digital module was stirring: Stash is straight AAA, student!"
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2CD
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DC 989CD
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"Totality! Automaginary! The in-studio convergence of Natural Information Society and Bitchin Bajas: two albums made over a decade of time, brought ye now together on CD. Congenial and organic, individual and ensemble inclinations incline in crafting new rhythm 'n gravity pieces. Invisible force meets ancient object: unique passages in time by two ensembles in shared and separate forever arcs."
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LP
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DC 976LP
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"On Stash, the absolutely energy-drenched second album from BCMC, the guitar and keys duo soars through waves of pleasant rhythmic turbulence on the way to show listeners just what they got. Needle down: increased activity dubs and baubles the sonic surface of BCMC's Stash planet. Waves from Arabian, Indian, Flamenco and Soul groove in alliance under the expanse of an all-world flag, representing a borderless pursuit of cosmic music moments in the hand, of/by/for all the people of folk, rock and jazz, psych, west coast psych, prog, DIY, experimental, traditional, programmatic, impressionistic, liturgic, electric! Maybe it's in the DNA between Cooper Crain on organ and synth and Bill MacKay on guitar -- BCMC's groove-based understanding/space-based alignment of purpose is two-headed (four-handed) intuition in music, aurally forming whenever playing, composing, improvising, or all the above. Stash is part guitar and keyboard recital, part unbridled electroacoustic assembly of spontaneous international deep and wide sounds. Happening between them, somehow. Like the time: guitar and keyboard pushing, then pulling back in space. The sound of two people agreeing on this. Patterns emerge, units form, and then, we feel BCMC alive in the wide-open air of the room. Also in Stash: written things, shorter strands, riffs, prog/funk/church organ breaks, psychedelic blues-rock soloing on synth. Echoes of Floyd/Doors/Deep Purple/Iron Butterfly/Velvets/Can wove into a jangly nest, then trembled with an occasional British folk peregrination. Insistent chord/rhythm discovery: jam it out. Having taped, take a second pass in places. Improvisation, layers, inner-player dialogues revolve the flow, open it up. Drop the needle down into Stash anywhere. You find one sonic widescreen or another in time. Vivid, judiciously-tripped minimalist songs; tropical soundtrack capacity and time, horizons and water flown in from the border, fine frontier and mellow high. Stash was recorded on half-inch 8-track tape by Greg Norman at Electrical Audio, then recorded more and mixed to 1/2" 2-track tape at Sweat Loge by Cooper and Bill. Stash's different textural feel is down to wondering about, then dialing details in the sound, getting good signal in a few good spaces with a few new (old) machines in the chain. And in the mix, not a digital module was stirring: Stash is straight AAA, student!"
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CD
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DC 971CD
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"Variations on a Theme, features Al Cisneros and Chris Hakius. It was produced by OM, and was originally released in 2005 on Holy Mountain."
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LP
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DC 984LP
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"What lies beyond The Black Door? An essence of otherness in the form of Cole Berliner, breezing out a vibrant acoustic sequence of bucolic instrumentals, chasing an old-world sense of beauty, projecting equally into the ear of listener and non-listener! Listen, having lived life as an atheist-spiritualist and progressive pop composer/performer, Cole desired to find his own kind of devotional music, devoting himself to the cause that became this album. But it took more than that in the end. The Black Door required playing in aspects of traditional genre formats like 'country,' 'blues,' 'finger-style,' 'gospel,' 'soundtrack,' 'ambient,' and Cole is adept at them all, mixing and matching modes and vibes. Adding to that a cosmic spray of full circle/circus leap consciousness, The Black Door flew open! Initially conceived as solo acoustic guitar tunes, in the studio the songs demanded the dynamics of an acoustic ensemble (a departure from his work with Kamikaze Palm Tree and Sharpie Smile). This was key. The arrangements form intricate passages for acoustic, electric and lap steel guitars, acoustic/ electric bass, piano, drums, percussion, violin, viola, horns, woodwinds and synthesizers. Playing with Cole are violinist Laena Myers, along with Garret Lang, Dylan Hadley, Sofia Arreguin, Robert Earl Thomas, Michael Sachs, Sarah Safaie, Kilan Thorns, and Cesar Hernandez PLUS Cesar Maria, who mixed and co-produced with Cole. The music of The Black Door is honest modern folk -- west coast folk! -- with a rad amount of odd psyche laced within. A presence in the production ecosystem of ominous (but friendly) ghost theater, elegant framing for a perfectly civilized, surreal mystery and exquisite, acoustic folk-chamber puzzle. And lo! Cole Berliner's solo debut is rich-grained instrumental parlor music, organically growing on in the speakers and ears beyond, an album after Drag City's own hearts in the challenger tradition of Bert Jansch's Avocet, Marc Ribot's Saints and Jim O'Rourke's Bad Timing. As Cole brings a succession of new moods and qualities to the true spirit of the thing, The Black Door opens up an album-length sequence of musical transformation."
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Cassette
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DC 971CS
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Cassette version. "Variations on a Theme, features Al Cisneros and Chris Hakius. It was produced by OM, and was originally released in 2005 on Holy Mountain."
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Cassette
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DC 972CS
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Cassette version. "OM's Conference of the Birds also features Al Cisneros and Chris Hakius, with production by OM, originally released in 2006 on Holy Mountain."
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LP
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DC 972LP
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LP version. "OM's Conference of the Birds also features Al Cisneros and Chris Hakius, with production by OM, originally released in 2006 on Holy Mountain."
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CD
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DC 972CD
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"OM's Conference of the Birds also features Al Cisneros and Chris Hakius, with production by OM, originally released in 2006 on Holy Mountain."
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LP
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DC 971LP
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LP version. "Variations on a Theme, features Al Cisneros and Chris Hakius. It was produced by OM, and was originally released in 2005 on Holy Mountain."
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LP
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DC 103LP
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"What's new for the first time in over a decade? Squirrel Bait's and Skag Heaven in the black. In '85-'87, their screamin' teenage psycho dilemmas stood way out in the emerging field of metal damaged hardcore punk. 'Kid Dynamite' would ring in your head like a #1 single that had just unseated 'Sun God' from the vaunted top spot. Every week. Anthems for the freaks! It happened fast. After a couple of records, guitarists David Grubbs and Brian McMahan split for Bastro and Slint (and Gastr del Sol and The For Carnation, respectively). With Grubbs went bassist Clark Johnson, original Bait batterie mate Britt Walford joined McMahan in Slint. Leaving only the stuff of legend: records eternally exploding with youthful feels through all the endless winters and summers of hearts and minds. Repressed, Squirrel Bait can now continue to dialogue with the young in the creation of new useful and unforgettable experiences. For the children of tomorrow as well as your own damn selves, get copies now."
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12"
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DC 102EP
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"What's new for the first time in over a decade? Squirrel Bait's self-titled 12" EP in the black. In '85-'87, their screamin' teenage psycho dilemmas stood way out in the emerging field of metal damaged hardcore punk. 'Kid Dynamite' would ring in your head like a #1 single that had just unseated 'Sun God' from the vaunted top spot. Every week. Anthems for the freaks! It happened fast. After a couple of records, guitarists David Grubbs and Brian McMahan split for Bastro and Slint (and Gastr del Sol and The For Carnation, respectively). With Grubbs went bassist Clark Johnson, original Bait batterie mate Britt Walford joined McMahan in Slint. Leaving only the stuff of legend: records eternally exploding with youthful feels through all the endless winters and summers of hearts and minds. Repressed, Squirrel Bait can now continue to dialogue with the young in the creation of new useful and unforgettable experiences. For the children of tomorrow as well as your own damn selves, get copies now."
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LP
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DC 978LP
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"Like a lightning strike that travels through time, White Fence are all of a sudden cracking in the hear-view mirror again. Orange hits like, visceral. Guitars sound and like a shower spray forth. Resolutely picked. Cold and soothing. Swivelin' thru the jagged, jittery pop sounds of the '60s-'00s, the sharped focus of Orange's rock sonics gives Tim Presley exactly what he needed the most: open space to sing into, and songs to sing. The rest is White Fence magik at its most dark, as Tim's restless free-allusivation trippifyingly transforms the cramped confines of heart wracked self-excoriation right before our eyes and ears! In pop songs. On (the mixing) board with White Fence/on the (drum) kit with Tim is Ty Segall. Engineering tactics fully hand-in-glove with the White Fence intent, they produce a clean and uncrowded space to mount up all the rock 'n balladry, their clean lines surrounded by an emphatic/unalterable (minimalist) frame. Tim's lyric sets and chord progressions, with their perspectives, time codes and smash cuts, give up eleven fleeting glimpses from the other side of the 'Fence, each outfitted as foot-forward pop tunes for maximum rock 'n roll. Playing with genre throughout the album like a space-age Kinks, Tim's natty wordplay splatters against the songs' rock-solid edifice, spilling an infinitum of cracked, shaggy realities, billowing, mirrored, sharded. When it all moves, you move, and that's fun. Orange is an unstill life; a bowlful of Tim's latest conceptions for guitar band, grown larger through thoughts, feelings, SONGS and some keys and synth from Alice Sandhal (+ 2 drum cameos from the ever-righteous Dylan Hadley). A trance-like chronology of consciousness, captured in opalescent diamond tightness and ice fidelity at Ty's Harmonizer II studio. It's a KILLER. White Fence is Orange on time this time!"
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LP
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DC 953LP
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"Joshua Abrams' Music for Pulse Meridian Foliation is the aural manifestation of an art installation described as 'an in-between space and access point to a pulsating experience that connects body and land.' Like the action of a slow-spiraling coil, the music information here revolves in dappling light, an evolution drawn slowly, magnetically forward, resonating there and back again. Deep-reaching in elemental movement, it leaves traces and echoes in the air -- and in our ears, as our own experience evolves. Joshua originally created this music as a four-channel installation to accompany Lisa Alvarado's Pulse Meridian Foliation exhibition at REDCAT in downtown Los Angeles. Written for two violas (both played by James Sanders), harmonium (Lisa), and electronics (Joshua), it was designed to play on a loop throughout the gallery's open hours between April 1 and August 20, 2023. When playing with Natural Information Society, Joshua's writing is directed toward the form of the music as uniquely occupied by the group. Here, he wrote in strict dialogue with the exhibit, responding with choices in composition, performance and production on Music for Pulse Meridian Foliation. A key interpretation of the exhibition is voiced by Josh in the hand-off of information between the two violas as they weave together from oppositional points across the sound stage. In mixing the original surround sound down to two channels, Joshua worked toward the small details from left to right, placing former residents of triangulated speaker planes in a congenial spot on our present stereo azimuth -- realizing, in the careful growth of this auricular border ecosystem, an essential aspect of the Pulse Meridian Foliation exhibit. In her exhibit, Lisa Alvarado inhabits the process of foliation, in which extreme environmental pressures upon rocks evoke a new crystallization and a changed minerality. For Alvarado personally, this is a matrix through which she can consider time and changes, specifically the politics of change, and dialogues that multiply over distinct chapters of history. On Music for Pulse Meridian Foliation, she asks, 'How does memory transform and live within the body?' and, in collaboration with Joshua Abrams, a transformation is enacted."
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