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viewing 1 To 25 of 324 items
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CD
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KRANK 240CD
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"South Carolina singer and producer Niecy Blues describes her songwriting process like an undertow: 'I feel a strange pull, and let it carry me, following swirling leaves... whole days roll by, forgetting about the body.' Their full-length debut, Exit Simulation, captures this sense of deep-rooted divination, cycling between simmering ballads, ghosted R&B, downtempo gospel, and looped vocal improvisations -- often within the same track. The title is taken from a science fiction novel she read during the purgatory of the pandemic, alluding to a dimensional ideation of departure -- 'the permission to imagine leaving.' Recorded in her current home of Charleston, she characterizes the album's mood in terms both reflective and raw: an exploration of things suppressed, foundations beginning to crack, 'talking myself off a ledge.' The music of Niecy Blues transposes reverie and reckoning into emotive devotionals of keys, guitar, bass, synth, and bewitched voice, steeped in sacred atmospheres gleaned from a youth spent in a religious Oklahoma household: 'My first experience with ambient music was church -- slow songs of worship, with delay on the guitar... even if you don't believe, you feel something.'"
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KRANK 240LP
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LP version. "South Carolina singer and producer Niecy Blues describes her songwriting process like an undertow: 'I feel a strange pull, and let it carry me, following swirling leaves... whole days roll by, forgetting about the body.' Their full-length debut, Exit Simulation, captures this sense of deep-rooted divination, cycling between simmering ballads, ghosted R&B, downtempo gospel, and looped vocal improvisations -- often within the same track. The title is taken from a science fiction novel she read during the purgatory of the pandemic, alluding to a dimensional ideation of departure -- 'the permission to imagine leaving.' Recorded in her current home of Charleston, she characterizes the album's mood in terms both reflective and raw: an exploration of things suppressed, foundations beginning to crack, 'talking myself off a ledge.' The music of Niecy Blues transposes reverie and reckoning into emotive devotionals of keys, guitar, bass, synth, and bewitched voice, steeped in sacred atmospheres gleaned from a youth spent in a religious Oklahoma household: 'My first experience with ambient music was church -- slow songs of worship, with delay on the guitar... even if you don't believe, you feel something.'"
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KRANK 210LP
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2017 release. "Michigan trumpeter Justin Walter's solo work centers on evocative, intuitive explorations of the EVI (Electronic Valve Instrument), a rare wind-controlled analog synthesizer from the 1970s. Its unique, smeared tonality allows for an expressive range of glassy, jazz-like textures, which Walter loops and layers with hushed electronics and twilit trumpet, painting opaque landscapes of resonant beauty. Walter's 2013 debut, Lullabies & Nightmares, included a handful of collaborations with percussionist Quin Kirchner, but Unseen Forces finds him fully solo, refining the project to its essence: shape-shifting watercolors of pastel haze, lit by the soft synthetic glow of electric breath. It's a sound both modern and timeless, fusing emotion and technology, gauze and melody, force and fragility."
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KRANK 237LP
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"The music of Justin Walter veers between nebulous and numinous, coaxed from the translucent tonalities of his signature instrument, the EVI (Electronic Valve Instrument). Destroyer, his latest, and third for Kranky, marks his most multifaceted work yet. Inspired by minimalistic urges (evading grandiosity, condensing scope, embracing spatial restraint) tempered with the drama of triptychs (becoming, destruction, aftermath), the album's eleven tracks thread a keening suite of aching, opaque beauty, traced in absence and breath. First begun in the the no man's land summer of 2020, Walter gradually amassed nearly two hours of demos, drafts, and ideas, then steadily whittled them to their essence. Destroyer enlists the sounds of a recently restored pump organ, adding pulses and quaking texture, but otherwise the album is a shimmering showcase of the EVI: miasmic, melodic, intuitive, infinite. It's music of fraught devotion and uneasy peace, questing yet languorous, forever rapt and untethered."
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2LP
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KRANK 007LP
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2023 repress. double LP version. "The debut album from New York City's Bowery Electric was released by Kranky in late summer 1995 after they came to the label's attention via their self-released 2x7-inch Drop EP from the year previous. The first in a trio of albums released by the core duo of Lawrence Chandler and Martha Schwendener finds them in their most raw form. This new double LP version restores the track 'Deep Sky Objects' to the original running order of the album as it was left off of the original single LP version due to side length restraints. This is the first time this album has been available on vinyl in almost two decades, and the first time the Drop EP has been available in any format since original release in 1994."
"The perfect realization of their aesthetic, each word and chord tuned and focused for maximum impact." --Pitchfork "Genuinely hypnotic." --The Wire
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KRANK 007CD
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2023 reprint. "The debut album from New York City's Bowery Electric was released by Kranky in late summer 1995 after they came to the label's attention via their self-released 2x7-inch Drop EP from the year previous. The first in a trio of albums released by the core duo of Lawrence Chandler and Martha Schwendener finds them in their most raw form. This new double LP version restores the track 'Deep Sky Objects' to the original running order of the album as it was left off of the original single LP version due to side length restraints. This is the first time this album has been available on vinyl in almost two decades, and the first time the Drop EP has been available in any format since original release in 1994. At the same time, Kranky is making the CD version available once again for the first time in many years, with the Drop EP tracks also included."
"The perfect realization of their aesthetic, each word and chord tuned and focused for maximum impact." --Pitchfork "Genuinely hypnotic." --The Wire
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KRANK 238LP
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"Portland pianist Mary Sutton second's full-length for Kranky delves deeper into her roots as a Cherokee Nation citizen (Saloli, pronounced like 'slowly,' is the Cherokee word for 'squirrel'). The album is intended to evoke 'a day in the life of a bear in a canyon in the Smoky Mountains,' with each track channeling a different emotion or experience in its daily explorations. As with her 2018 debut, The Deep End, the entirety of Canyon was composed and performed live on a Sequential Circuits MultiTrak synthesizer -- but this time routed through a delay pedal. This refraction adds a lyrical spatial quality, as though 'echoing off canyon walls.' It's music both gentle and adventurous, curiously rooting through soils and streams, in a sustained state of discovery. In Cherokee teachings, humans and animals are considered to have no essential difference -- originally, all the creatures of the earth lived together in harmony. Canyon captures shades of this Edenic notion across eight elegant pieces, alternately meandering, pensive, playful, and pure. Sutton's playing, as always, is dexterous and dimensional, mirroring the dazzled senses of its muse. Her father, the Cherokee painter and flute-maker Jerry Sutton, created the artwork. Its yellow lettering is from the Cherokee Syllabary and spells 'Yona', meaning 'bear.'"
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2LP
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KRANK 239LP
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Repressed; double LP version. "The latest by Canadian composer Tim Hecker serves as a beacon of unease against the deluge of false positive corporate ambient currently in vogue. Whether taken as warning or promise, No Highs delivers -- this is music of austerity and ambiguity, purgatorial and seasick. A jagged anti-relaxant for our medicated age, rough-hewn and undefined. Morse code pulse programming flickers like distress signals while a gathering storm of strings, noise, and low-end looms in the distance. Processed electronics shiver and shudder against pitch-shifting assemblages of crackling voltage, mantric horns (including exquisite modal sax by Colin Stetson), and cathedral keys. Throughout, the pieces both accrue and avoid drama, more attuned to undertow than crescendo. Hecker mentions 'negation' as a muse of sorts -- the sense of tumult without bombast, tethered ecstasies, an escape from escapism. His is an antagonism both brusque and beguiling, devoid of resolution, beckoning the listener ever deeper into its greyscale alchemies of magisterial disquiet."
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KRANK 239CD
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"The latest by Canadian composer Tim Hecker serves as a beacon of unease against the deluge of false positive corporate ambient currently in vogue. Whether taken as warning or promise, No Highs delivers -- this is music of austerity and ambiguity, purgatorial and seasick. A jagged anti-relaxant for our medicated age, rough-hewn and undefined. Morse code pulse programming flickers like distress signals while a gathering storm of strings, noise, and low-end looms in the distance. Processed electronics shiver and shudder against pitch-shifting assemblages of crackling voltage, mantric horns (including exquisite modal sax by Colin Stetson), and cathedral keys. Throughout, the pieces both accrue and avoid drama, more attuned to undertow than crescendo. Hecker mentions 'negation' as a muse of sorts -- the sense of tumult without bombast, tethered ecstasies, an escape from escapism. His is an antagonism both brusque and beguiling, devoid of resolution, beckoning the listener ever deeper into its greyscale alchemies of magisterial disquiet."
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KRANK 236CD
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"The union of composers Lawrence English and loscil aka Scott Morgan is seamless, sublime, and long overdue. Born of a conversation centered on the notion of "rich sources" as a forge for electronic music, Colours Of Air is a collection of recordings of a century old pipe organ housed at the historic Old Museum in Brisbane, Australia, which were then processed, transformed, and elevated into eight majestic electro-acoustic threshold devotionals. The timbre of the instrument and spatial fluctuations of room tone infuse the music with a subdued, sacred feel, like vaulted light in a nave of stained glass. They describe the album as 'an iterative project, a reduction and eventual expansion,' sifting the swells and drones of the organ for every shivering shade of radiance. The tracks are named for the hue each piece suggests -- from the gauzy levitational miasma of 'Yellow' to the pulsing melancholic mirage of 'Violet' to the seething twilit sandstorm of 'Magenta.' Morgan and English are both adept at conjuring moods of muted grandeur, like landscapes veiled in dusk, still looming and luminous. Here their combined powers open pathways to heightened realms of deep listening and bewitching restraint, finding flickering infinities in ancient configurations of wind, brass, stone, and dust."
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KRANK 235CD
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"While on the island of Syros in the Aegean Sea for a film festival performance, Christina Vantzou experienced what she characterized as 'a moment of focus' -- a specific vision for the sprawl of raw recordings she'd been amassing for her fifth album. Upon relocating to the Cycladic island of Ano Koufonisi, she situated herself outside at a patio table with a laptop and headphones, taking brief breaks to swim, and began the 'reductive process' of shaving and shaping the source material into uneasy but lyrical movements, alternately austere and adorned with strange inflections: glottal groaning, cavernous water, glittering eddies of modular synth, languorous silences. Mixing the pieces herself without outsourcing to an engineer compounded the intimacy and autobiographical dimension of the music; she refers to Nº5 as 'almost like a first album.' Drawing on sessions staged in February 2020, Vantzou's editing instincts emphasize process and isolation, spotlighting resonance and restraint, liquidity and long tails. Fleeting configurations of piano, wind, strings, synthetics, and field recordings, these are spaces as much as compositions, surreal grottos of shifting light, suffused with a sense of invisible divinity. Although seventeen musicians appear on the record, the proceedings feel minimalist and malleable, sculpted from interstitial moments and oblique synchronicities. The definition of a composer as 'one who joins things' is here both plumbed and proven; Vantzou describes Nº5 as 'a letting go,' a place of 'soft borders,' unfixed and undefinable."
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KRANK 235LP
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LP version. "While on the island of Syros in the Aegean Sea for a film festival performance, Christina Vantzou experienced what she characterized as 'a moment of focus' -- a specific vision for the sprawl of raw recordings she'd been amassing for her fifth album. Upon relocating to the Cycladic island of Ano Koufonisi, she situated herself outside at a patio table with a laptop and headphones, taking brief breaks to swim, and began the 'reductive process' of shaving and shaping the source material into uneasy but lyrical movements, alternately austere and adorned with strange inflections: glottal groaning, cavernous water, glittering eddies of modular synth, languorous silences. Mixing the pieces herself without outsourcing to an engineer compounded the intimacy and autobiographical dimension of the music; she refers to Nº5 as 'almost like a first album.' Drawing on sessions staged in February 2020, Vantzou's editing instincts emphasize process and isolation, spotlighting resonance and restraint, liquidity and long tails. Fleeting configurations of piano, wind, strings, synthetics, and field recordings, these are spaces as much as compositions, surreal grottos of shifting light, suffused with a sense of invisible divinity. Although seventeen musicians appear on the record, the proceedings feel minimalist and malleable, sculpted from interstitial moments and oblique synchronicities. The definition of a composer as 'one who joins things' is here both plumbed and proven; Vantzou describes Nº5 as 'a letting go,' a place of 'soft borders,' unfixed and undefinable."
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KRANK 072LP
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2022 repress on vinyl. "This is the first vinyl issue of the sole The Dead Texan album originally released in May of 2004." "Stars Of The Lid's Adam Wiltzie presents a collection of drone compositions that he considered too aggressive for his parent band -- which means they range somewhere between a whisper and a shout. The sense of cathedral-like reverence is balanced with extreme intimacy." --Pitchfork "This is quite possibly the best music available for slowly drifting into dreamland. Equal parts intrigue and sedative, The Dead Texan is an elegantly hypnotic album that manages to freeze time in addition to passing it." --Tinymixtapes "The Dead Texan remains a remarkably subtle and tranquil work. Disarmingly lovely..." --Textura
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KRANK 234LP
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LP version. "Jacob Long's third Earthen Sea outing for Kranky, Ghost Poems, further refines his fragile, fractured palette into fluttering arrythmias of dust, percussion, and yearning. Composed during the first wave of lockdowns in New York, the pieces took shape patiently from samples of piano, texture, and domestic sounds (sink splashing, room tone, clinking objects), filtered through live FX to imbue them with an intuitive, immaterial feel. Wisps of melody splinter, shimmer, and refract, like light on water; pulses accrue and dissipate, as if mapping shifting sands. Throughout, there's a sense of matter made animate, of absences felt. Long cites notions of 'the studio as a dub instrument' and the melancholy of '7th chords on a fake Rhodes patch' as central elements in his process, transforming raw materials into rare thresholds of symbiosis and hypnosis. This is music for night skies in hollowed-out cities, for views across rivers towards unknown shores: restless, placeless, and profound."
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KRANK 232LP
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LP version. "The glacial distillation of Pan American aka Mark Nelson's 'romantic minimalism' achieves unique fruition on his latest Kranky collection, The Patience Fader. A suite of solo guitar instrumentals accented with lap steel, harmonica, and twilit atmospherics, the strings smear and sparkle in elegant, windswept swells, a guitar mode once described by Brian Eno as 'Duane Eddy playing Erik Satie.' These are elegies as much as songs, lulling and lilting in private currents of beauty and bereavement. Nelson speaks of the notion of 'lighthouse music,' radiance cast from a stable vantage point, sending 'a signal to help others through rocks and dangerous currents.' Composed during the highly isolated summer of 2020, the pieces took shape as meditations on 'roots and mourning, trying to connect with those deep hidden rivers that lead to a greater communality.' There's something ageless, scarred, and American about this music, both displaced and devotional, the ghost of rust belts and dust bowls looming in a horizon of deepening dusk."
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KRANK 234CD
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"Jacob Long's third Earthen Sea outing for Kranky, Ghost Poems, further refines his fragile, fractured palette into fluttering arrythmias of dust, percussion, and yearning. Composed during the first wave of lockdowns in New York, the pieces took shape patiently from samples of piano, texture, and domestic sounds (sink splashing, room tone, clinking objects), filtered through live FX to imbue them with an intuitive, immaterial feel. Wisps of melody splinter, shimmer, and refract, like light on water; pulses accrue and dissipate, as if mapping shifting sands. Throughout, there's a sense of matter made animate, of absences felt. Long cites notions of 'the studio as a dub instrument' and the melancholy of '7th chords on a fake Rhodes patch' as central elements in his process, transforming raw materials into rare thresholds of symbiosis and hypnosis. This is music for night skies in hollowed-out cities, for views across rivers towards unknown shores: restless, placeless, and profound."
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KRANK 232CD
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"The glacial distillation of Pan American aka Mark Nelson's 'romantic minimalism' achieves unique fruition on his latest Kranky collection, The Patience Fader. A suite of solo guitar instrumentals accented with lap steel, harmonica, and twilit atmospherics, the strings smear and sparkle in elegant, windswept swells, a guitar mode once described by Brian Eno as 'Duane Eddy playing Erik Satie.' These are elegies as much as songs, lulling and lilting in private currents of beauty and bereavement. Nelson speaks of the notion of 'lighthouse music,' radiance cast from a stable vantage point, sending 'a signal to help others through rocks and dangerous currents.' Composed during the highly isolated summer of 2020, the pieces took shape as meditations on 'roots and mourning, trying to connect with those deep hidden rivers that lead to a greater communality.' There's something ageless, scarred, and American about this music, both displaced and devotional, the ghost of rust belts and dust bowls looming in a horizon of deepening dusk."
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KRANK 233LP
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2023 repress; LP version. "The 12th full-length by Pacific Northwest artist Liz Harris aka Grouper is a collection of songs spanning fifteen years. She characterizes Shade as an album about respite, and the coast, poetically and literally. How one frames themselves in a landscape, how in turn it frames themselves; memories and experiences carried forward mapping a connection to place -- 'an ode to blue / what lives in shade.' Songs touch on loss, flaws, hiding places, love. Deep connections to the Bay Area, and the North Coast, with its unique moods of solitude, beauty, and isolation -- a place described and transformed by the chaos and power of rivermouth, wild maritime storms, columns of mist that rise up unexpectedly on the road at night. Portions were recorded on Mount Tamalpais during a self-made residency years back, other pieces made longer ago in Portland, while the rest were tracked during more recent sessions in Astoria. Throughout, Harris threads a hidden radiant language of voice, disquiet, and guitar, framed by open space and the sense of being far away -- 'Echoing a lighthouse, burying the faults of being human / Into things that we project upon the sky at night.'"
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KRANK 233CD
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"The 12th full-length by Pacific Northwest artist Liz Harris aka Grouper is a collection of songs spanning fifteen years. She characterizes Shade as an album about respite, and the coast, poetically and literally. How one frames themselves in a landscape, how in turn it frames themselves; memories and experiences carried forward mapping a connection to place -- 'an ode to blue / what lives in shade.' Songs touch on loss, flaws, hiding places, love. Deep connections to the Bay Area, and the North Coast, with its unique moods of solitude, beauty, and isolation -- a place described and transformed by the chaos and power of rivermouth, wild maritime storms, columns of mist that rise up unexpectedly on the road at night. Portions were recorded on Mount Tamalpais during a self-made residency years back, other pieces made longer ago in Portland, while the rest were tracked during more recent sessions in Astoria. Throughout, Harris threads a hidden radiant language of voice, disquiet, and guitar, framed by open space and the sense of being far away -- 'Echoing a lighthouse, burying the faults of being human / Into things that we project upon the sky at night.'"
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KRANK 217LP
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2023 restock. "Received a 7.8 rating from Pitchfork. Not long after recording her tenth album Ruins, Liz Harris traveled to Wyoming to work on art and record music. She found herself drawn towards the pairing of skeletal piano phrasing with spare, rich bursts of vocal harmony. A series of stark songs emerged, minimal and vulnerable, woven with emotive silences. Inspired by 'the idea that something is missing or cold,' the pieces float and fade like vignettes, implying as much as they reveal. She describes them as 'small texts hanging in space,' impressions of mortality, melody, and the unseen -- fleeting beauty, interrupted. Grid Of Points stands as a concise and potently poetic addition to the Grouper catalog. 'Grid Of Points is a set of songs for piano and voice. I wrote these songs over a week and a half; they stopped abruptly when I was interrupted by a high fever. Though brief, it is complete. The intimacy and abbreviation of this music allude to an essence that the songs lyrics speak more directly of. The space left after matter has departed, a stage after the characters have gone, the hollow of some central column, missing.' --Liz Harris"
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2LP
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KRANK 219LP
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2021 repress. "Received an 8.5 Best New Music rating from Pitchfork. Experiential composer Tim Hecker's ninth official full-length, Konoyo ('the world over here') was largely recorded during several trips to Japan where he collaborated with members of the gagaku ensemble Tokyo Gakuso, in a temple on the outskirts of Tokyo. Inspired by conversations with a recently deceased friend about negative space and a sense of music's increasingly banal density, Hecker found himself drawn towards restraint and elegance, while making music both collectively and alone. As with the Icelandic choir he arranged on 2016's Love Streams, the heights of Hecker's talent emerge in his manipulation of source material, bending and burnishing it into fantastical new forms. Keening strings are stretched into surreal, pixelated mirages; woodwinds warble and dissipate as fractal whispers of spatial haze; sparse gestures of percussion are chopped, isolated, and eroded, like disembodied signals from the afterlife. Both in texture and intent, Konoyo conjures a somber, ceremonial mood, suffused with ritual and regret. Visions flutter and fade; dreams gleam and decay. Hecker will stage a series of special performances in tandem with the album's release, featuring members of the gagaku ensemble on shō, ryuteki and hichiriki, accompanied by Kara-Lis Coverdale."
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2LP
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KRANK 231LP
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Double LP version. "The latest collection by Cascadian resident loscil aka Scott Morgan is a stunning meditation on light, shade, and decay, sourced from a single three-minute composition performed by a 22-piece string orchestra in Budapest. The subsequent recording was lathe-cut on to a 7-inch, then 'scratched and abused to add texture and color,' from which the entirety of Clara was sampled, shape-shifted, and sculpted. Despite their limited palette, the compositions summon a sense of the infinite, swelling and swimming through luminous depths. Certain tracks percolate over narcoleptic metronomes while others slowdive in shimmering shadowplay, sounding at times like some noir music of the spheres. Although Morgan's compositional premise for Clara was quite defined, the resultant work is wonderfully opaque and spatial, equal parts lush and lurking, traced in fine-grained gradients and radiant silences. The album's title comes from the Latin for 'bright': a fitting muse for this masterpiece of celestial electric currents and interstitial ether, where 'shadows are amplified and bright spots dimmed.'"
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KRANK 231CD
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"The latest collection by Cascadian resident loscil aka Scott Morgan is a stunning meditation on light, shade, and decay, sourced from a single three-minute composition performed by a 22-piece string orchestra in Budapest. The subsequent recording was lathe-cut on to a 7-inch, then 'scratched and abused to add texture and color,' from which the entirety of Clara was sampled, shape-shifted, and sculpted. Despite their limited palette, the compositions summon a sense of the infinite, swelling and swimming through luminous depths. Certain tracks percolate over narcoleptic metronomes while others slowdive in shimmering shadowplay, sounding at times like some noir music of the spheres. Although Morgan's compositional premise for Clara was quite defined, the resultant work is wonderfully opaque and spatial, equal parts lush and lurking, traced in fine-grained gradients and radiant silences. The album's title comes from the Latin for 'bright': a fitting muse for this masterpiece of celestial electric currents and interstitial ether, where 'shadows are amplified and bright spots dimmed.'"
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2LP
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KRANK 212LP
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2021 repress. "This is the first reissue for Tim Hecker's classic 2003 album. The original recordings were remixed by Tim Hecker and mastered by Matt Colton at Alchemy Mastering."
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2LP
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KRANK 211LP
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2021 restock. "This is the first reissue of Tim Hecker's classic 2001 debut full length release. The original recordings were remixed by Tim Hecker and mastered by Matt Colton at Alchemy Mastering."
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