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CD
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THRILL 644CD
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$14.50
PREORDER
RELEASE DATE: 1/30/2026
"The Soft Pink Truth (Drew Daniel also of Matmos) grafts chamber music and electronic music into a beguiling new hybrid pop album that evokes mid-20th century film soundtracks with nods to minimalism. Can Such Delightful Times Go On Forever? features artwork by Robert Beatty (Tame Impala, The Weeknd). The new album features a host of special guests: Bill Orcutt offers one of his most delicate performances committed to record. Other guests include strings arranger Ulas Kurugullu, harpists Neleta Ortiz and Cecilia Cuccolin, pianists Koye Berry and M.C. Schmidt, the Ebu String Quartet, as well as woodwinds played by Brandon Wilkins and Evelyn Frances and Zach Rowden of celebrated noise duo Tongue Depressor provides grinding double bass drones. Wedding emotional expression with canny references to the inherited history of recorded music, the chimes, organ and pizzicato strings on 'Phrygian Ganymede' recall Bernard Herrmann's scores for classic Alfred Hitchcock films, while galloping marimbas lend a sense of screwball comedy on 'L'Esprit de L'Escalier.' Can Such Delightful Times Go On Forever? is a singular album that speaks to the prowess of Drew Daniel as a composer and producer, deftly interlacing pop structure and classical timbre while interlacing subtle electronic sound design with gorgeous acoustics. Across the album Daniel embraces a spirit of drama and romanticism that blurs the boundaries between unconscious desire and everyday reality. The Soft Pink Truth has created a sound world of lavish fantasy that acts as a balm and counterpoint to the communal pains of modern life."
"Like that clubber throwing dancefloor etiquette out of the window, The Soft Pink Truth create thrills in their quest for something deeper." --The Quietus
"[Daniel] excoriates populism by making protest a deeply sensual act" --Uncut
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LP
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THRILL 642LP
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$25.00
PREORDER
RELEASE DATE: 1/30/2026
LP version. "Barry Walker Jr. is a pedal steel player and guitarist whose roots in Americana, country and folk traditions influence his melding of minimalism, ambient and spiritual music. The Portland-based instrumentalist is also a member of the Rose City Band, known for his gorgeous phrasing and deft interplay with guitarist Ripley Johnson. On Paleo Sol, Walker demonstrates his singular voice as a pedal steel player and composer. Evoking the American western ranges and basins, the album embodies a longer, geologic view of time that patiently marvels at the ripples of change throughout lifetimes and ages. Walker is joined on Paleo Sol by drummer Rob Smith (Rhytion, Pigeons) and bassist and Mouth Painter bandmate Jason Willmon (Fruited Planes). Paleo Sol's tranquil landscapes glide, built on warm finger-picked guitar figures and pedal steel swells coupled with deft percussion and bass touches by Smith and Willmon respectively. The trio plays with exceptional fluidity either completing each other's' phrasing or working together to build momentum. Smith notes: 'The drums are not keeping time as much as evidencing its elasticity, mixing into the other instruments, changing phase states.' Every gesture on the album is rich with intention, moving with grace and playing with timbre and time. The pieces of Paleo Sol were composed during a monumental shift in Walker's own life, around the birth of his first child. Walker's compositions are guided by a serenity and gentleness that makes for a dreamy soundtrack. His acumen as a composer and instrumentalist are on full display on Paleo Sol. The album is a gorgeous reflection of Walker's own internal world as well as the detailed environment he's spent so much of his life exploring as a field geologist.
"In human reckoning, the essence of the solid earth is mostly still. Those engaged in deep time inquiry recognize the vigor of Earth's behavior, and quiescence is a small part of the action." --Barry Walker
"This is drift music, sustained by dusky drones and quiet fingerstyle. Everything's as gentle as a sunkissed stream. The pathways that once felt free and clear now sport an uneasy shade, yet the guitar picks on." --NPR Music
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CD
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THRILL 642CD
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$14.50
PREORDER
RELEASE DATE: 1/30/2026
"Barry Walker Jr. is a pedal steel player and guitarist whose roots in Americana, country and folk traditions influence his melding of minimalism, ambient and spiritual music. The Portland-based instrumentalist is also a member of the Rose City Band, known for his gorgeous phrasing and deft interplay with guitarist Ripley Johnson. On Paleo Sol, Walker demonstrates his singular voice as a pedal steel player and composer. Evoking the American western ranges and basins, the album embodies a longer, geologic view of time that patiently marvels at the ripples of change throughout lifetimes and ages. Walker is joined on Paleo Sol by drummer Rob Smith (Rhytion, Pigeons) and bassist and Mouth Painter bandmate Jason Willmon (Fruited Planes). Paleo Sol's tranquil landscapes glide, built on warm finger-picked guitar figures and pedal steel swells coupled with deft percussion and bass touches by Smith and Willmon respectively. The trio plays with exceptional fluidity either completing each other's' phrasing or working together to build momentum. Smith notes: 'The drums are not keeping time as much as evidencing its elasticity, mixing into the other instruments, changing phase states.' Every gesture on the album is rich with intention, moving with grace and playing with timbre and time. The pieces of Paleo Sol were composed during a monumental shift in Walker's own life, around the birth of his first child. Walker's compositions are guided by a serenity and gentleness that makes for a dreamy soundtrack. His acumen as a composer and instrumentalist are on full display on Paleo Sol. The album is a gorgeous reflection of Walker's own internal world as well as the detailed environment he's spent so much of his life exploring as a field geologist.
"In human reckoning, the essence of the solid earth is mostly still. Those engaged in deep time inquiry recognize the vigor of Earth's behavior, and quiescence is a small part of the action." --Barry Walker
"This is drift music, sustained by dusky drones and quiet fingerstyle. Everything's as gentle as a sunkissed stream. The pathways that once felt free and clear now sport an uneasy shade, yet the guitar picks on." --NPR Music
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LP
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THRILL 644LP
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$25.00
PREORDER
RELEASE DATE: 1/30/2026
LP version. "The Soft Pink Truth (Drew Daniel also of Matmos) grafts chamber music and electronic music into a beguiling new hybrid pop album that evokes mid-20th century film soundtracks with nods to minimalism. Can Such Delightful Times Go On Forever? features artwork by Robert Beatty (Tame Impala, The Weeknd). The new album features a host of special guests: Bill Orcutt offers one of his most delicate performances committed to record. Other guests include strings arranger Ulas Kurugullu, harpists Neleta Ortiz and Cecilia Cuccolin, pianists Koye Berry and M.C. Schmidt, the Ebu String Quartet, as well as woodwinds played by Brandon Wilkins and Evelyn Frances and Zach Rowden of celebrated noise duo Tongue Depressor provides grinding double bass drones. Wedding emotional expression with canny references to the inherited history of recorded music, the chimes, organ and pizzicato strings on 'Phrygian Ganymede' recall Bernard Herrmann's scores for classic Alfred Hitchcock films, while galloping marimbas lend a sense of screwball comedy on 'L'Esprit de L'Escalier.' Can Such Delightful Times Go On Forever? is a singular album that speaks to the prowess of Drew Daniel as a composer and producer, deftly interlacing pop structure and classical timbre while interlacing subtle electronic sound design with gorgeous acoustics. Across the album Daniel embraces a spirit of drama and romanticism that blurs the boundaries between unconscious desire and everyday reality. The Soft Pink Truth has created a sound world of lavish fantasy that acts as a balm and counterpoint to the communal pains of modern life."
"Like that clubber throwing dancefloor etiquette out of the window, The Soft Pink Truth create thrills in their quest for something deeper." --The Quietus
"[Daniel] excoriates populism by making protest a deeply sensual act" --Uncut
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Artist |
Title |
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LP
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THRILL 644X-LP
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$27.00
PREORDER
RELEASE DATE: 1/30/2026
LP version. Yellow color vinyl. "The Soft Pink Truth (Drew Daniel also of Matmos) grafts chamber music and electronic music into a beguiling new hybrid pop album that evokes mid-20th century film soundtracks with nods to minimalism. Can Such Delightful Times Go On Forever? features artwork by Robert Beatty (Tame Impala, The Weeknd). The new album features a host of special guests: Bill Orcutt offers one of his most delicate performances committed to record. Other guests include strings arranger Ulas Kurugullu, harpists Neleta Ortiz and Cecilia Cuccolin, pianists Koye Berry and M.C. Schmidt, the Ebu String Quartet, as well as woodwinds played by Brandon Wilkins and Evelyn Frances and Zach Rowden of celebrated noise duo Tongue Depressor provides grinding double bass drones. Wedding emotional expression with canny references to the inherited history of recorded music, the chimes, organ and pizzicato strings on 'Phrygian Ganymede' recall Bernard Herrmann's scores for classic Alfred Hitchcock films, while galloping marimbas lend a sense of screwball comedy on 'L'Esprit de L'Escalier.' Can Such Delightful Times Go On Forever? is a singular album that speaks to the prowess of Drew Daniel as a composer and producer, deftly interlacing pop structure and classical timbre while interlacing subtle electronic sound design with gorgeous acoustics. Across the album Daniel embraces a spirit of drama and romanticism that blurs the boundaries between unconscious desire and everyday reality. The Soft Pink Truth has created a sound world of lavish fantasy that acts as a balm and counterpoint to the communal pains of modern life."
"Like that clubber throwing dancefloor etiquette out of the window, The Soft Pink Truth create thrills in their quest for something deeper." --The Quietus
"[Daniel] excoriates populism by making protest a deeply sensual act" --Uncut
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Artist |
Title |
Format |
Label |
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LP
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THRILL 642X-LP
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$27.00
PREORDER
RELEASE DATE: 1/30/2026
LP version. Red color vinyl. "Barry Walker Jr. is a pedal steel player and guitarist whose roots in Americana, country and folk traditions influence his melding of minimalism, ambient and spiritual music. The Portland-based instrumentalist is also a member of the Rose City Band, known for his gorgeous phrasing and deft interplay with guitarist Ripley Johnson. On Paleo Sol, Walker demonstrates his singular voice as a pedal steel player and composer. Evoking the American western ranges and basins, the album embodies a longer, geologic view of time that patiently marvels at the ripples of change throughout lifetimes and ages. Walker is joined on Paleo Sol by drummer Rob Smith (Rhytion, Pigeons) and bassist and Mouth Painter bandmate Jason Willmon (Fruited Planes). Paleo Sol's tranquil landscapes glide, built on warm finger-picked guitar figures and pedal steel swells coupled with deft percussion and bass touches by Smith and Willmon respectively. The trio plays with exceptional fluidity either completing each other's' phrasing or working together to build momentum. Smith notes: 'The drums are not keeping time as much as evidencing its elasticity, mixing into the other instruments, changing phase states.' Every gesture on the album is rich with intention, moving with grace and playing with timbre and time. The pieces of Paleo Sol were composed during a monumental shift in Walker's own life, around the birth of his first child. Walker's compositions are guided by a serenity and gentleness that makes for a dreamy soundtrack. His acumen as a composer and instrumentalist are on full display on Paleo Sol. The album is a gorgeous reflection of Walker's own internal world as well as the detailed environment he's spent so much of his life exploring as a field geologist.
"In human reckoning, the essence of the solid earth is mostly still. Those engaged in deep time inquiry recognize the vigor of Earth's behavior, and quiescence is a small part of the action." --Barry Walker
"This is drift music, sustained by dusky drones and quiet fingerstyle. Everything's as gentle as a sunkissed stream. The pathways that once felt free and clear now sport an uneasy shade, yet the guitar picks on." --NPR Music
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CD
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THRILL 637CD
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"claire rousay's music cascades from a well of documented experience, reflections of the past that compose the present. A prolific multi-instrumentalist, producer, and composer, rousay gracefully crafts boundaryless music. From her frequent and acclaimed collaborations with artists like M. Sage, more eaze, Gretchen Korsmo, Andrew Weathers, LEYA, and Alex Cunningham, to her film scoring like on The Bloody Lady. From her own compositions to her solo pop work, rousay's music is delicate yet powerful, carefully constructed with a casual intimacy. rousay collages a wealth of found sounds and field recordings with earthy strings, stately piano, and processed instrumentation, all of which trace the outlines of memories and distinct impressions and create a complex constellation of feeling. rousay's music has evolved from confessional to conversational and excavates the rich emotional essence of each passage. Her work as both archivist and adept arranger and orchestrator merge sublimely into deeply honest and engrossing music. On a little death, rousay's blend of pop sensibility and compositional acumen turn abstracted sounds into tangible feelings, its warm, glimmering glow coalescing sensually with the darkness. The process of composing a little death felt like a homecoming for rousay after the more pop-oriented song forms of 2024's sentiment. 'sentiment was a different way of working that helped refresh my music making habits and usual flow,' rousay notes. 'This record is a return to what I see as my core solo practice, a re-dedication to those methods of working which I've found most align with what I envision my music or sound to be.' Intended as a part of a trilogy along with a heavenly touch and a softer focus, the pieces on a little death sprout from a wellspring of tactile samples and granularly processed sounds. The use of sounds recorded from her life outside of the studio remains a throughline in her work. While the previous two albums used field recordings as the primary sound source or central figure in the compositions, here they act more as springboards, timbrally intertwining with live instruments like additional voices in a chamber ensemble."
"Pop at its most fragile, attenuated and surreal." --New York Times
"a fantastic tour de force -- a musical antidote to numbness." --Rolling Stone
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LP
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THRILL 637LP
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LP version. "claire rousay's music cascades from a well of documented experience, reflections of the past that compose the present. A prolific multi-instrumentalist, producer, and composer, rousay gracefully crafts boundaryless music. From her frequent and acclaimed collaborations with artists like M. Sage, more eaze, Gretchen Korsmo, Andrew Weathers, LEYA, and Alex Cunningham, to her film scoring like on The Bloody Lady. From her own compositions to her solo pop work, rousay's music is delicate yet powerful, carefully constructed with a casual intimacy. rousay collages a wealth of found sounds and field recordings with earthy strings, stately piano, and processed instrumentation, all of which trace the outlines of memories and distinct impressions and create a complex constellation of feeling. rousay's music has evolved from confessional to conversational and excavates the rich emotional essence of each passage. Her work as both archivist and adept arranger and orchestrator merge sublimely into deeply honest and engrossing music. On a little death, rousay's blend of pop sensibility and compositional acumen turn abstracted sounds into tangible feelings, its warm, glimmering glow coalescing sensually with the darkness. The process of composing a little death felt like a homecoming for rousay after the more pop-oriented song forms of 2024's sentiment. 'sentiment was a different way of working that helped refresh my music making habits and usual flow,' rousay notes. 'This record is a return to what I see as my core solo practice, a re-dedication to those methods of working which I've found most align with what I envision my music or sound to be.' Intended as a part of a trilogy along with a heavenly touch and a softer focus, the pieces on a little death sprout from a wellspring of tactile samples and granularly processed sounds. The use of sounds recorded from her life outside of the studio remains a throughline in her work. While the previous two albums used field recordings as the primary sound source or central figure in the compositions, here they act more as springboards, timbrally intertwining with live instruments like additional voices in a chamber ensemble."
"Pop at its most fragile, attenuated and surreal." --New York Times
"a fantastic tour de force -- a musical antidote to numbness." --Rolling Stone
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Artist |
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Format |
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LP
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THRILL 637X-LP
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LP version. Sunflare color vinyl. "claire rousay's music cascades from a well of documented experience, reflections of the past that compose the present. A prolific multi-instrumentalist, producer, and composer, rousay gracefully crafts boundaryless music. From her frequent and acclaimed collaborations with artists like M. Sage, more eaze, Gretchen Korsmo, Andrew Weathers, LEYA, and Alex Cunningham, to her film scoring like on The Bloody Lady. From her own compositions to her solo pop work, rousay's music is delicate yet powerful, carefully constructed with a casual intimacy. rousay collages a wealth of found sounds and field recordings with earthy strings, stately piano, and processed instrumentation, all of which trace the outlines of memories and distinct impressions and create a complex constellation of feeling. rousay's music has evolved from confessional to conversational and excavates the rich emotional essence of each passage. Her work as both archivist and adept arranger and orchestrator merge sublimely into deeply honest and engrossing music. On a little death, rousay's blend of pop sensibility and compositional acumen turn abstracted sounds into tangible feelings, its warm, glimmering glow coalescing sensually with the darkness. The process of composing a little death felt like a homecoming for rousay after the more pop-oriented song forms of 2024's sentiment. 'sentiment was a different way of working that helped refresh my music making habits and usual flow,' rousay notes. 'This record is a return to what I see as my core solo practice, a re-dedication to those methods of working which I've found most align with what I envision my music or sound to be.' Intended as a part of a trilogy along with a heavenly touch and a softer focus, the pieces on a little death sprout from a wellspring of tactile samples and granularly processed sounds. The use of sounds recorded from her life outside of the studio remains a throughline in her work. While the previous two albums used field recordings as the primary sound source or central figure in the compositions, here they act more as springboards, timbrally intertwining with live instruments like additional voices in a chamber ensemble."
"Pop at its most fragile, attenuated and surreal." --New York Times
"a fantastic tour de force -- a musical antidote to numbness." --Rolling Stone
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Format |
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LP
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THRILL 641X-LP
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Purple color vinyl. "Holy Sons is the largely solo project of Emil Amos (Grails, Om, Lilacs & Champagne). Puritan Themes is his 17th album and his 4th for Thrill Jockey Records and a tentpole album in his wide-ranging output, including myriad private press LPs, collections of oddities, and conceptual series. Puritan Themes relaxed vibes are influenced by the laid-back west coast rock sound of mid-period Fleetwood Mac, blended with a dose of psych distortion and imbued with the breeziness and ease of yacht rock. Puritan Themes is a record that knowingly, barely fits into the modern world. When mixing the record in Chicago, everyday Amos skated through Douglass Park listening to podcasts about the inner workings of The Band, listened to '70s AM radio while washing dishes and went to sleep at night to early Bee Gees interviews. The earliest concept of the record was based around the track 'Chain Gang' which was an imaginary take on if Cat Stevens had smoked a ton of salvia and taken a much darker route within that world of dense, story-telling/message-based songwriting. The track 'Raw & Disfigured' borrows its name from the last Thrill Jockey Holy Sons record, in a referential move that's stolen from the way Led Zeppelin separated the track 'Houses of the Holy' from the record of the same name (once again harkening back to '70s lore)."
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LP
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THRILL 640X-LP
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LP version. Clear color vinyl. "Sam Prekop's work over the last 30 years, whether created primarily on his guitar or on his modular synth, is consistent in its powerful melodicism, delicate arrangements and subtle evolution. Prekop's singular blend of melody, impressionistic lyricism and quietly intricate rhythms are the core of the singular sound of The Sea and Cake. Since 2010's Old Punch Card, Prekop's exploration of modular synthesis and electronic atmospheres, has come into its own. Highly skilled at manipulating the sonic interplay, Prekop has established a style all his own, his pieces are complex expressing real movement. Harmonies bloom with granular detail and contrary to their machine sources are able to convey emotion. Open Close is an album that captures the flow and energy of a live performance through the lens of a deft craftsman, an equilibrium of intuitive composition and the excitement of possibility. The music of Sam Prekop is defined by his signature curiosity and his ability to mold and refine that curiosity into a wholly unique sound. His process in naming album Open Close mirrors his creative practice and the worlds he builds across the album: 'I like simple words that become complicated if you think of them more than a second or two, beyond face value. And Open Close could be: close as in 'close to you' or close as in 'close the door.' If it gives everything away too quickly, then I'm not interested.' Each movement across Open Close is replete with simple gestures that suggest new complexities with Prekop's careful arrangements. Open Close unearths new, soulfully human sounds from synthetic textures precisely juxtaposed, its subtle contrasts in texture and rhythm are a free-flowing celebration of sonics as stunning as they are ephemeral."
"Every track is awash in sumptuous, eminently hummable melodies; the album swells with a newfound sense of joy." --Pitchfork, Best New Music
"The best improvisation transforms music into a living thing." --NPR, Best Albums of 2022
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LP
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THRILL 640LP
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LP version. "Sam Prekop's work over the last 30 years, whether created primarily on his guitar or on his modular synth, is consistent in its powerful melodicism, delicate arrangements and subtle evolution. Prekop's singular blend of melody, impressionistic lyricism and quietly intricate rhythms are the core of the singular sound of The Sea and Cake. Since 2010's Old Punch Card, Prekop's exploration of modular synthesis and electronic atmospheres, has come into its own. Highly skilled at manipulating the sonic interplay, Prekop has established a style all his own, his pieces are complex expressing real movement. Harmonies bloom with granular detail and contrary to their machine sources are able to convey emotion. Open Close is an album that captures the flow and energy of a live performance through the lens of a deft craftsman, an equilibrium of intuitive composition and the excitement of possibility. The music of Sam Prekop is defined by his signature curiosity and his ability to mold and refine that curiosity into a wholly unique sound. His process in naming album Open Close mirrors his creative practice and the worlds he builds across the album: 'I like simple words that become complicated if you think of them more than a second or two, beyond face value. And Open Close could be: close as in 'close to you' or close as in 'close the door.' If it gives everything away too quickly, then I'm not interested.' Each movement across Open Close is replete with simple gestures that suggest new complexities with Prekop's careful arrangements. Open Close unearths new, soulfully human sounds from synthetic textures precisely juxtaposed, its subtle contrasts in texture and rhythm are a free-flowing celebration of sonics as stunning as they are ephemeral."
"Every track is awash in sumptuous, eminently hummable melodies; the album swells with a newfound sense of joy." --Pitchfork, Best New Music
"The best improvisation transforms music into a living thing." --NPR, Best Albums of 2022
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2LP
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THRILL 639X-LP
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Double LP version. Clear color vinyl. "Nobukazu Takemura's music is singular in its ability to create a musical sense of childlike wonder and curiosity, with gracefully executed yet complex compositions. His pieces embody an innocence and the intricacies of self-discovery that every human is faced with as their worlds become more complex. An acclaimed producer and composer, Takemura is known for his idiosyncratic music and video artistry as well as his prolific collaborations including those with Tortoise, Yo La Tengo, DJ Spooky, and Steve Reich. knot of meanings, Takemura's first proper album in a decade, finds the Japanese artist wrestling with the rise of technological influence on art and culture in the modern era, in tandem with his own relationship to religion, and where those struggles meet. Like the colorful, irregularly shaped glasses on the cover, the album is a mosaic of technicolor elements that come together to form a complete picture, a dense portrait of interconnected struggles and triumphs. Throughout the album, Takemura exudes an unpredictability that builds surprise from unlikely combinations of instruments, tonalities and harmonic motions that embody bewildering knots to untangle, held together with a youthful sense of wonder. 'I attended a Catholic kindergarten as a child and cherished those early years, which laid the foundations for my future. This is in part why I have always used the keyword 'child' in my work as an adult,' notes Takemura. knot of meanings culminates his use of that child's perspective, or as Takemura has used extensively, that 'Child's View' to explore deeper life philosophies to ecstatic ends. The meanings and mysteries contained within make for an enchanting excavation for those attuned to deep listening, a journey that rewards the kind of inquiring open-mindedness of the listener."
"Japanese composer Nobukazu Takemura, who turned in a brilliant set of electronica...At points the music turned radiant, glowing with major harmonies, the pulse of the music driving. The music makes you concentrate, it promotes ecstasy." --NY Times
"Takemura has an uncanny understanding of [a child's] perspective, and even more amazing, realizes how to turn it into music." --Pitchfork
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CD
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THRILL 639CD
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"Nobukazu Takemura's music is singular in its ability to create a musical sense of childlike wonder and curiosity, with gracefully executed yet complex compositions. His pieces embody an innocence and the intricacies of self-discovery that every human is faced with as their worlds become more complex. An acclaimed producer and composer, Takemura is known for his idiosyncratic music and video artistry as well as his prolific collaborations including those with Tortoise, Yo La Tengo, DJ Spooky, and Steve Reich. knot of meanings, Takemura's first proper album in a decade, finds the Japanese artist wrestling with the rise of technological influence on art and culture in the modern era, in tandem with his own relationship to religion, and where those struggles meet. Like the colorful, irregularly shaped glasses on the cover, the album is a mosaic of technicolor elements that come together to form a complete picture, a dense portrait of interconnected struggles and triumphs. Throughout the album, Takemura exudes an unpredictability that builds surprise from unlikely combinations of instruments, tonalities and harmonic motions that embody bewildering knots to untangle, held together with a youthful sense of wonder. 'I attended a Catholic kindergarten as a child and cherished those early years, which laid the foundations for my future. This is in part why I have always used the keyword 'child' in my work as an adult,' notes Takemura. knot of meanings culminates his use of that child's perspective, or as Takemura has used extensively, that 'Child's View' to explore deeper life philosophies to ecstatic ends. The meanings and mysteries contained within make for an enchanting excavation for those attuned to deep listening, a journey that rewards the kind of inquiring open-mindedness of the listener."
"Japanese composer Nobukazu Takemura, who turned in a brilliant set of electronica...At points the music turned radiant, glowing with major harmonies, the pulse of the music driving. The music makes you concentrate, it promotes ecstasy." --NY Times
"Takemura has an uncanny understanding of [a child's] perspective, and even more amazing, realizes how to turn it into music." --Pitchfork
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CD
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THRILL 640CD
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"Sam Prekop's work over the last 30 years, whether created primarily on his guitar or on his modular synth, is consistent in its powerful melodicism, delicate arrangements and subtle evolution. Prekop's singular blend of melody, impressionistic lyricism and quietly intricate rhythms are the core of the singular sound of The Sea and Cake. Since 2010's Old Punch Card, Prekop's exploration of modular synthesis and electronic atmospheres, has come into its own. Highly skilled at manipulating the sonic interplay, Prekop has established a style all his own, his pieces are complex expressing real movement. Harmonies bloom with granular detail and contrary to their machine sources are able to convey emotion. Open Close is an album that captures the flow and energy of a live performance through the lens of a deft craftsman, an equilibrium of intuitive composition and the excitement of possibility. The music of Sam Prekop is defined by his signature curiosity and his ability to mold and refine that curiosity into a wholly unique sound. His process in naming album Open Close mirrors his creative practice and the worlds he builds across the album: 'I like simple words that become complicated if you think of them more than a second or two, beyond face value. And Open Close could be: close as in 'close to you' or close as in 'close the door.' If it gives everything away too quickly, then I'm not interested.' Each movement across Open Close is replete with simple gestures that suggest new complexities with Prekop's careful arrangements. Open Close unearths new, soulfully human sounds from synthetic textures precisely juxtaposed, its subtle contrasts in texture and rhythm are a free-flowing celebration of sonics as stunning as they are ephemeral."
"Every track is awash in sumptuous, eminently hummable melodies; the album swells with a newfound sense of joy." --Pitchfork, Best New Music
"The best improvisation transforms music into a living thing." --NPR, Best Albums of 2022
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2LP
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THRILL 050LP
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2025 repress; black vinyl. "1998: Tortoise's third studio album TNT is released. In and out of print over the past decade we are happy to finally give everyone what they have been asking for - TNT on vinyl again! Pressed on high quality virgin vinyl, the two LPs are packaged in a deluxe old-style tip-on gatefold jacket fully replicating the original artwork and includes a download coupon for the first time!"
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LP
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THRILL 590LP
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Originally released in 2023. "The music of Markus Popp is endlessly curious. Since the early '90s his pioneering albums as Oval have continually excavated new spaces in electronic music, leaving an indelible mark on the landscape. Popp's playful and singular approach to sound has continually left critics and peers alike confounded by his ability to conjure such lithe, evocative sonics from software. Celebrated collaborations with Jan St. Werner as Microstoria remain foundational texts in underground music, while a rare split record with Liturgy exemplifies Popp's reach and influence outside electronic spheres. His album Romantiq turns the producer's inquisitive ear to an omnipresent and yet oft ill-defined, even maligned area of music and art -- the romantic. The album foregrounds the emotional drive that has always been present in Oval records, providing a genuine and unabashed interrogation of its subject matter delivered with delectable sophistication. Romantiq evolved from an audio-visual collaboration with digital artist Robert Seidel for the grand opening of the German Romantic Museum in Frankfurt -- a huge outdoor projection covering the museum building. From the project's inception both Seidel and Popp sought a more expansive definition of 'romantic,' extending outward from the museum's comprehensive survey of the 19th-century epoch in art. Popp crafted dozens of short vignettes that each sought to evoke a specific mood or emotion in dialogue with Seidel's dense, intricate digital imagery and animations. From those initial foundations Popp continued to develop his initial sketches into something even more ambitious and diverse in its outlook. Romantiq surveys a staggering amount of source material, looking as much to literature, architecture and artistic traditions as it does music. Processed period instruments trace luxuriant spaces that shift from low-lit chambers to glistening palatial grandeur, glitching through past, present and future. Swelling atmospheres emerge like perfume, rich scents flooding the senses before evaporating on the breeze. Disparate traditional elements and romantic tropes are juxtaposed and recast into a future-seeking survey of ephemeral emotion. Throughout Romantiq, Popp masterfully blurs the line between the organic and digital, obscuring or revealing instruments in service of atmosphere."
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CD
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THRILL 229CD
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Originally released in 2010. "A native of Virginia and resident of Philadelphia since 1998, Jack Rose first rose to prominence with the drone/noise/folk unit, Pelt. Pelt can be counted among the early influential new music underground bands such as UN, No Neck Blues Band, Charalambides, Tower Recordings and Six Organs of Admittance. Rose recorded and toured with the band up until 2006. Rose released his first solo LP in 2002, Red Horse, White Mule, of post-Takoma, American primitive guitar. Along with the influences of John Fahey and Robbie Basho, Rose also incorporated North Indian classical, early American blues, bluegrass and minimalism into his singular style. Luck in the Valley is the third album in a set of recordings that Rose jokingly refers to as his 'Ditch Trilogy.' Rose continues his exploration of pre-war American music with a set brand new material featuring the Twigs, Jones, Harmonica Dan and Hans Chew along with a handful of solo pieces. This recording set out to capture the energy and feel of the classic three-track shack recordings by the Wray Brothers and Mordicai Jones. Luck In The Valley was written and recorded over a period of nine months off the road, an unusually long time for Rose to be at home and woodshedding. The album finds Rose employing new themes and techniques that haven't appeared on previous releases. Like all pre-war recordings and all of Rose's releases, this album was recorded live. It was not created using overdubs but rather by recording a few 'takes' and selecting the best performance out of those. Also Included in the set are three covers: 'St. Louis Blues,' 'Everybody Ought to Pray Sometime,' and 'West Coast Blues.' All of these pre-war classics are Rose's unique arrangements. The album title refers to the old red light section of St. Louis and was a code for procuring the services of a prostitute. An avid record collector with an encyclopedic knowledge of pre-war American music, Rose has been acknowledged as a rising star among contemporary guitar players. Luck in the Valley finds Rose at his best surrounded by like-minded friends on a recording that is enriched by a sense of history but entirely new, vibrant and warm."
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CD
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THRILL 445CD
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Originally released in 2017. "SAICOBAB is the Japanese quartet of vocalist YoshimiO (Boredoms, OOIOO), Yoshida Daikiti (sitar), Akita Goldman (bass), and acclaimed in Japan Motoyuki "Hama" Hamamoto (percussion, gamelan). SAICOBAB masterfully blend traditional Indian music with melodies and unexpected rhythms using unorthodox instrumentation to create utterly distinct modern ragas. On their debut album Sab Se Purani Bab, YoshimiO's leaping, animated, effected vocal melodies dance fluidly through Daikiti's intricate sitar patterns. The entrancing synergy of Goldman and Hama's rhythmic pulse drives and shapes the aptly named SAICOBAB's sound to one that is at once rooted in ancient tradition, and wholly new. SAICO means 'the most ancient,' and 'BAB' stands for 'baby' in Japanese. Sab Se Purani means 'the most ancient baby girl' in Hindi. The connections made are a reflection of the deep connections made musically between traditional Indian and Japanese music and spiritual practices. In classical Indian music, there is a diverse rhythmic system that can be expressed in mathematical equations, and similarly in Japan, there are mathematical concepts such as numerology, yin and yang, and hakuginhi (silver ratio), that have been used in music and performance since ancient times. SAICOBAB's intricate melody and rhythm of the sitar, double bass, voice, and riq (a middle-eastern tambourine), are largely recorded live, but are also manipulated in subsequent editing to create bursts and distortions, such as the vocal scatterings of 'AWAWAW' or the stuttering percussion of 'One.' The artwork was created by longtime collaborator and artist Ooido Syoujou. Since YoshimiO and Daikiti formed SAICOBAB in 2001, the group has expanded beyond their initial improvisations and into an ensemble as formidable in talent as it is in originality. YoshimiO is clearly able to ignore the rules with ease and singular creativity, however she and Daikiti understand that in order to be able to ignore the rules, you need 'to train yourself to be aware of the most ancient rules of the universe.' SAICOBAB's deep understanding of traditions enables them to transform ancient cultural practices into modern playgrounds of creativity."
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LP
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THRILL 590X-LP
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Transparent red color vinyl. Originally released in 2023. "The music of Markus Popp is endlessly curious. Since the early '90s his pioneering albums as Oval have continually excavated new spaces in electronic music, leaving an indelible mark on the landscape. Popp's playful and singular approach to sound has continually left critics and peers alike confounded by his ability to conjure such lithe, evocative sonics from software. Celebrated collaborations with Jan St. Werner as Microstoria remain foundational texts in underground music, while a rare split record with Liturgy exemplifies Popp's reach and influence outside electronic spheres. His album Romantiq turns the producer's inquisitive ear to an omnipresent and yet oft ill-defined, even maligned area of music and art -- the romantic. The album foregrounds the emotional drive that has always been present in Oval records, providing a genuine and unabashed interrogation of its subject matter delivered with delectable sophistication. Romantiq evolved from an audio-visual collaboration with digital artist Robert Seidel for the grand opening of the German Romantic Museum in Frankfurt -- a huge outdoor projection covering the museum building. From the project's inception both Seidel and Popp sought a more expansive definition of 'romantic,' extending outward from the museum's comprehensive survey of the 19th-century epoch in art. Popp crafted dozens of short vignettes that each sought to evoke a specific mood or emotion in dialogue with Seidel's dense, intricate digital imagery and animations. From those initial foundations Popp continued to develop his initial sketches into something even more ambitious and diverse in its outlook. Romantiq surveys a staggering amount of source material, looking as much to literature, architecture and artistic traditions as it does music. Processed period instruments trace luxuriant spaces that shift from low-lit chambers to glistening palatial grandeur, glitching through past, present and future. Swelling atmospheres emerge like perfume, rich scents flooding the senses before evaporating on the breeze. Disparate traditional elements and romantic tropes are juxtaposed and recast into a future-seeking survey of ephemeral emotion. Throughout Romantiq, Popp masterfully blurs the line between the organic and digital, obscuring or revealing instruments in service of atmosphere."
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2LP
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THRILL 557X-LP
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2025 repress. Originally released in 2022. Transparent orange color vinyl. "Pelican's debut album Australasia, originally released in late 2003 by Hydra Head Records, is a landmark record in the shifting tides of heavy music that took place at the turn of the millennium. 20 years since its release and with several sold-out represses, Australasia is a proven essential for any listener exploring the bounds of rock music. Now issued as a deluxe double LP edition newly remastered for vinyl and complete with three never-before-released bonus songs, including a remix by James Plotkin and digital downloads of early Pelican live recordings. Artwork by ISIS/SUMAC/Hydra Head founder Aaron Turner. Following the release of the band's auspicious self-titled EP, Australasia's singular integration of melodic complexity and tremendous density redefined conceptions of what constituted 'heavy.' Pelican's unique manipulation of atmosphere and dynamics seamlessly alchemized their disparate influences beyond metal into music grand, mercurial, and utterly sublime, worthy of the album's namesake. Billowing clouds of strange serenity give way to tectonic riffs. Hypnotic rhythms chug at the precipice between doom and euphoria. Guitarists Trevor Shelley de Brauw and Laurent Schroeder-Lebec twirl soaring harmonies around the roaring thunder of bassist Bryan Herweg and drummer Larry Herweg. Throughout the album, the quartet move as one like a glacier, awesome and forever imbuing the landscape with their mark. Australasia stands as a pioneering work, unmatched in the level of unbridled beauty and devastation Pelican wields across the album. Features artwork designed by Aaron Turner. Newly remastered vinyl comes with a bonus remix by James Plotkin and bonus track downloads available only with vinyl purchase."
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LP
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THRILL 445LP
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LP version. Originally released in 2017. "SAICOBAB is the Japanese quartet of vocalist YoshimiO (Boredoms, OOIOO), Yoshida Daikiti (sitar), Akita Goldman (bass), and acclaimed in Japan Motoyuki "Hama" Hamamoto (percussion, gamelan). SAICOBAB masterfully blend traditional Indian music with melodies and unexpected rhythms using unorthodox instrumentation to create utterly distinct modern ragas. On their debut album Sab Se Purani Bab, YoshimiO's leaping, animated, effected vocal melodies dance fluidly through Daikiti's intricate sitar patterns. The entrancing synergy of Goldman and Hama's rhythmic pulse drives and shapes the aptly named SAICOBAB's sound to one that is at once rooted in ancient tradition, and wholly new. SAICO means 'the most ancient,' and 'BAB' stands for 'baby' in Japanese. Sab Se Purani means 'the most ancient baby girl' in Hindi. The connections made are a reflection of the deep connections made musically between traditional Indian and Japanese music and spiritual practices. In classical Indian music, there is a diverse rhythmic system that can be expressed in mathematical equations, and similarly in Japan, there are mathematical concepts such as numerology, yin and yang, and hakuginhi (silver ratio), that have been used in music and performance since ancient times. SAICOBAB's intricate melody and rhythm of the sitar, double bass, voice, and riq (a middle-eastern tambourine), are largely recorded live, but are also manipulated in subsequent editing to create bursts and distortions, such as the vocal scatterings of 'AWAWAW' or the stuttering percussion of 'One.' The artwork was created by longtime collaborator and artist Ooido Syoujou. Since YoshimiO and Daikiti formed SAICOBAB in 2001, the group has expanded beyond their initial improvisations and into an ensemble as formidable in talent as it is in originality. YoshimiO is clearly able to ignore the rules with ease and singular creativity, however she and Daikiti understand that in order to be able to ignore the rules, you need 'to train yourself to be aware of the most ancient rules of the universe.' SAICOBAB's deep understanding of traditions enables them to transform ancient cultural practices into modern playgrounds of creativity."
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Artist |
Title |
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Label |
Catalog # |
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2LP
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THRILL 557LP
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2025 repress. Originally released in 2022. "Pelican's debut album Australasia, originally released in late 2003 by Hydra Head Records, is a landmark record in the shifting tides of heavy music that took place at the turn of the millennium. 20 years since its release and with several sold-out represses, Australasia is a proven essential for any listener exploring the bounds of rock music. Now issued as a deluxe double LP edition newly remastered for vinyl and complete with three never-before-released bonus songs, including a remix by James Plotkin and digital downloads of early Pelican live recordings. Artwork by ISIS/SUMAC/Hydra Head founder Aaron Turner. Following the release of the band's auspicious self-titled EP, Australasia's singular integration of melodic complexity and tremendous density redefined conceptions of what constituted 'heavy.' Pelican's unique manipulation of atmosphere and dynamics seamlessly alchemized their disparate influences beyond metal into music grand, mercurial, and utterly sublime, worthy of the album's namesake. Billowing clouds of strange serenity give way to tectonic riffs. Hypnotic rhythms chug at the precipice between doom and euphoria. Guitarists Trevor Shelley de Brauw and Laurent Schroeder-Lebec twirl soaring harmonies around the roaring thunder of bassist Bryan Herweg and drummer Larry Herweg. Throughout the album, the quartet move as one like a glacier, awesome and forever imbuing the landscape with their mark. Australasia stands as a pioneering work, unmatched in the level of unbridled beauty and devastation Pelican wields across the album. Features artwork designed by Aaron Turner. Newly remastered vinyl comes with a bonus remix by James Plotkin and bonus track downloads available only with vinyl purchase."
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Artist |
Title |
Format |
Label |
Catalog # |
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LP
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THRILL 229LP
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LP version. Originally released in 2010. "A native of Virginia and resident of Philadelphia since 1998, Jack Rose first rose to prominence with the drone/noise/folk unit, Pelt. Pelt can be counted among the early influential new music underground bands such as UN, No Neck Blues Band, Charalambides, Tower Recordings and Six Organs of Admittance. Rose recorded and toured with the band up until 2006. Rose released his first solo LP in 2002, Red Horse, White Mule, of post-Takoma, American primitive guitar. Along with the influences of John Fahey and Robbie Basho, Rose also incorporated North Indian classical, early American blues, bluegrass and minimalism into his singular style. Luck in the Valley is the third album in a set of recordings that Rose jokingly refers to as his 'Ditch Trilogy.' Rose continues his exploration of pre-war American music with a set brand new material featuring the Twigs, Jones, Harmonica Dan and Hans Chew along with a handful of solo pieces. This recording set out to capture the energy and feel of the classic three-track shack recordings by the Wray Brothers and Mordicai Jones. Luck In The Valley was written and recorded over a period of nine months off the road, an unusually long time for Rose to be at home and woodshedding. The album finds Rose employing new themes and techniques that haven't appeared on previous releases. Like all pre-war recordings and all of Rose's releases, this album was recorded live. It was not created using overdubs but rather by recording a few 'takes' and selecting the best performance out of those. Also Included in the set are three covers: 'St. Louis Blues,' 'Everybody Ought to Pray Sometime,' and 'West Coast Blues.' All of these pre-war classics are Rose's unique arrangements. The album title refers to the old red light section of St. Louis and was a code for procuring the services of a prostitute. An avid record collector with an encyclopedic knowledge of pre-war American music, Rose has been acknowledged as a rising star among contemporary guitar players. Luck in the Valley finds Rose at his best surrounded by like-minded friends on a recording that is enriched by a sense of history but entirely new, vibrant and warm."
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CD
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THRILL 568CD
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Originally released in 2022. "Thrill Jockey Records presents Into This Juvenile Apocalypse Our Golden Blood To Pour Let Us Never, the third collaborative album by Japanese free music provocateur Keiji Haino and expressionist metal trio SUMAC. Into This Juvenile Apocalypse captures Haino and the three members of SUMAC live on stage, navigating a series of spontaneous compositions in front of an attentive audience, with no prior discussions or planning involving the direction of the music. All four participants agree that Into This Juvenile Apocalypse finds the quartet navigating the push-and-pull of creative interplay with bolder strides and stronger chemistry. Recorded on May 21, 2019, at the Astoria Hotel on Vancouver BC's notorious East Hastings Street as a one-off performance during a short North American tour for Haino, the six compositions comprising Into This Juvenile Apocalypse showcase a musical unit bouncing unfiltered ideas off of one another, mining a trove of textures and timbres from their armory to buoy and bolster these living and breathing pieces. Like so many albums documenting free music, the thrill here is in the tight rope walk, the wavering moments of uncertainty, and the ecstatic moments of shared brilliance. The album opens with 'When logic rises morality falls Logic and morality in Japanese are but one character different,' a pensive exploration of melody spearheaded by Aaron Turner's fractured arpeggiated guitar chords. Drummer Nick Yacyshyn and bassist Brian Cook step to the forefront on track two, 'A shredded coiled cable within this cable the sincerity could not be contained.' As with American Dollar Bill and Even For Just The Briefest Moment, Into This Juvenile Apocalypse Our Golden Blood To Pour Let Us Never is an unfiltered and undoctored document of a specific moment in time. There are equipment failures. There are ideas left dangling in the ether. There are the technical handicaps of recording in a dingy hotel dive bar in a bad neighborhood as opposed to the optimal acoustics of a proper recording studio. But there is also an electricity in the air, and a continuous sense of creative elation and goosebump-inducing inspiration. It's an hour-long exercise in seeking out happy accidents and reveling in the wreckage."
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