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Indiepop aus England und eine tolle Entdeckung für die Leute, die Bands wie Daughter oder Porridge Radio mögen.

Hinter Skullcrusher verbirgt sich kein Gothic angehauchtes Metal-Project sondern die in LA lebende Singer/Songwriterin Helen Ballentine. Ballentine spielt schon fast ihr gesamtes Leben lang Musik: Klavier seit ihrem fünften Lebensjahr und Gitarre seit der Highschool. Nachdem sie von ihrer Heimat in Upstate New York nach Los Angeles gezogen war, um dort Kunst zu studieren, kündigte sie ihren Full Time-Job in einer Galerie und sah sich plötzlich mit einer ungewohnten Freiheit konfrontiert. Diese nutze sie, um sich zum ersten Mal ernsthaft mit Musik und dem Songwriting zu widmen. Die vier dunklen, verträumten Songs auf der ,Skullcrusher"-EP, die mit Produzent Noah Weinman entstanden sind, sind von einer seltsamen, doch irgendwie passenden Verschmelzung mit den Medien beeinflusst, die die Musikerin unmittelbar nach der Kündigung ihres 9-to-5 Jobs konsumierte. Nick Drake, Ambient Electronica oder der tschechische New-Wave-Film ,Valerie and her Week of Wonders": Sie alle prägten ,Skullcrusher"s Ästhetik. Da ist Ballentines Liebe zur Fantasie und zum Surrealismus, ihre Wertschätzung für die Art und Weise, wie Fantasy-Romane Schönheit und Gewalt nebeneinanderstellen - vielleicht auch eine Anspielung auf ihren Künstlernamen Skullcrusher. ,I thought a lot about my self-worth during this period of unvertainty. Places/Plans` attempts to communicate the beauty and vulnerability of being alone and what it means to let someone else in to see that. It feels like the thematic core of the EP. It is a song for being alone in your room, lying on the floor with a book and the window open, but also for letting someone in to lie with you." Als Skullcrusher arbeitet Helen Ballentine ganz bewusst und entscheidend mit spärlichen Arrangements und fügt minimalistische Klänge so geschickt zusammen, dass ein voller Raum entsteht.

2020! Now it can be told: the charade of a world without new Magik Markers records (six-plus years!) has finally ended. In these times of contagion fables and hacky blockbuster n95 disaster imagery IRL, Markers emerge again like three Lazarus from their three individual firmaments, just in the nick of the end of time.What Magik Markers do best is listening, and as John Shaw, Pete Nolan and Elisa Ambrogio worked with the tunes, they heard something taking shape. Less a style than a spirit - a spirit that had to do with a delight in friendship and invention. So, here we are with results, the murky and public airing of songs, improvised and planned.2020, recorded and slowly mixed in the first humming tinnitus years after Trump was elected, feels like an animal response to the intellectual luxury of despair. It explodes like a dream. We can all be forced into wage slavery, the dreary fears of our own mortality and the tender traps of love, compassion and family; this record, in eternal Markers fashion, stands as proof that work born out of the unconscious can transcend the individual concerns of meatsackery, and commute purity and relief in the untethered ether that we all contain.Ultimately human music, danceable and grandly damaged, like sister Kim Gordon. The new normal in stadium rock sound: one person on headphones in an empty room.

Rock and roll was a relief after the rigour of Henry Cow. That was one of the thoughts in Anthony Moore's brain in late 1975. Of course, leaving Henry Cow had meant the dissolution of the band he'd founded, Slapp Happy, as the two groups had essentially merged over the previous year. Still, there was plenty yet to do with music, and with Anthony's propensity for odd left turns, a solo career in the pop world seemed like a fine option to follow upon his adventure in soundtracks for experimental films, tape-based modern composition and avant-pop and experimental rock. For "the troubadour with Revoxes", this venture into playing guitar and singing in a professional context was a new thing. To access the pop life, Anthony signed a solo deal with Virgin - cutting sessions with producer Peter Jenner (Kevin Ayers, Roy Harper, Edgar Broughton Band) and some of Britain's new generation of progressive musicians facilities like Abbey Road, Air and Richard Branson's Oxfordshire getaway, The Manor. While the stars didn't align back in the day (the fantastic sounds recorded for OUT didn't see release until a CD issue of the late 1990s), we're finally making those historic recordings on vinyl with the long-lost original artwork restored. Kicking it off with a tricky asymmetrical keyboard riff reminiscent of Eno's Tiger Mountain phase and a belting Cale-esque vocal recounting the macho adventure narrative tone of that era's Dylan and Roger McGuinn, "Stitch In Time" floats essential elements of the mid-70s British art-rock boom with dreamy pop effervescence.It's been worth the 44-year (!) wait to get Anthony's full vision restored to OUT - an absolute lost chapter from mid-70s, proto-new wave Britain, bringing to mind the bright and subversive sounds of Wyatt, Ayers and so many other trail-blazers from that time while providing a worthy precursor to Anthony's celebrated 1979 LP, Flying Won't Help. A fantastic joy to the ears!

In the past two decades, Tashi Dorji has travelled a long road. Making several dozen albums and touring the world, playing his guitar solo and in tandem with inspired others. Gifted with a sensitive and restless ear, he reaches through his guitar to find new sounds. The title of this forthcoming record, Stateless, is about more than just playing one's way into somewhere else. It invites us to perceive hair-raising truth; these are free pieces in more ways than one.A native of Bhutan, Tashi has lived in Asheville NC with his family since 2000. His career as a musician has flourished during this time - even as, in recent years, the government presiding over this country that he and we call home has taken a series of entirely despicable positions on the status of immigrants, refugees and foreigners of all kinds. On any level that we can imagine, this is a corrupt human policy. Our immigrant ancestors once lived in fear - must immigrants always? Or is this the cluttered and sinking path of a nation drifting into a sea change?Stateless is a probing recital in which music, the texture of the instrument and the nature of the moment in which it is played are all of equal significance. Like a sculptor, Tashi flecks away at his acoustic guitar, percussive strikes discovering the shades of folkish melodies within, while continuously shaping other contours in a flow of improvised actions.Stateless measures the miles on the charred highway we're all presently stalled upon - not going home again, at time on a march for no reason, other moments insensibly in the weeds, rummaging, looking for something.

Just when you thought every loner folk genius had been outed/discovered, hyped, and pontificated about, a new/old challenger lurks in the murky depths of time...and Maine. Sure, you have your Skip Spences, Dave Bixbys, Stone Harbours, and Perry Leopolds already, but have you heard the lonesome sound of Bill Stone? Well, don't feel bad or "unkool", hardly anyone has--unless you lived in rural Maine in the early 70s and grabbed his barely-ever seen LP in the day. Titled simply Stone, Bill's mysterious album was pressed in the micro-est of quantities, covering wistful, airy psychedelia on par with the UK's Mark Fry's classic Dreaming of Alice, while still evoking the earthy, evening-hour melancholy of Leonard Cohen or Tom Rapp. Stone was also especially influenced by one Donny P. Leitch, one Robby Zimmerman, and much trad folk, while growing up in his hometown of Old Town, Maine. Stone started out playing in a few small folk ensembles while also moonlighting with occasional solo gigs, finally recording this lone platter in 1969 in a pottery studio (!?) on a 2-track Panasonic tape recorder in Boothbay, Maine (where he says, they competed with a cat in heat). The LP features Tom Blackwell/Bill Stone-guitars, Arthur Webster-bass, Bob Blackwell/Skip Smith-drums, Bill/Beth Waterhouse on vocals. It also seems cover artist Doug Bane went on to become an acclaimed cosmic painter--committing loads of animals, psychedelic scenes, and Native American portraits to canvas, who knew? But we digress--anyhow, seems Stone's solo career slowed down after marriage hit, and he transitioned to playing covers in bars for cash, but after acquiring a masters and doctorate in education, he moved into the teaching walk of life. Bill published books and articles on subjects as diverse as school counseling and chaos theory--but now retired, he's returned to music, even recording a new album of originals and traditional numbers, based on his experiences as a cab driver (another wrinkle in the Stone Saga we must hear more of someda...

An electrical tension enters the room - a guitar, left to its own devices, is surfing the breeze. Breaking in the air, smiling from ear to ear. Bicoastal, even! Suddenly, The Peacers are back with their third album.The time has been kind. Three years since they went about their sophomore affect, Introducing the Crimsmen - but you know how it is in these important years, everything changing. Lots goes down, lots to go back through later. That second Peacers record was made by the second Peacers lineup, after 2/3rds of the first gang made for the door after the first LP. In came Bo Moore, Shayde Sartin and Mike Shoun - but after they'd finished making Crimsmen, singer Mike Donovan moved out of his old San Francisco digs to the east coast and made two solo albums. So, who êtes vous this time, The Peacers?Check the 'Better Than Ever' box, that's who! Up til now, The Peacers records were consistently great no matter who they were, delivering Mike D's irrepressible subterranean pop in a full color spectrum of moods from purple to blue-black to sometimes white. Blexxed Rec is a different time in the band's life - a second album from the same lineup, plus with a country in between them. Also, Bo, who had a song on the last one, brought three in for this one, and Shayde's got the closing number. Suddenly, three singer-songwriters under The Peacers' flag! So now they're the Beatles and Blexxed Rec is loaded like a Revolver? Uh, yeah. The band's vernacular is singing out of everyone's mouth, strumming on every guitar and every bass drum, rebuilding perfect pop in their own fiendish image, slanted and spread left and right in the speakers. Hard seps = classic!Everybody wants to be a guitar band, with two of 'em up front and a bass and drums, but The Peacers are already one, sending out a mad variety of the thrills and chills of modern rock - whether glam-tinged ("The Thunder Is an Electrical Love God"), psyched-out ("Colors for You", "Dandelion"), folky ("Irish Suit"), riding the knifeblade of post-garage fus...

"I've been driving through the darkness....through the smoke and fire on the ground"Lingering at the remains of a campfire before dawn, with the politics of the personal burnt into ash, running his stick through what's left, Wand singer/guitarist Cory Hanson is reflecting on a series of moments in which he steps farther into himself, finding the ultimate big sky country on the inside of his skull. It's a combination of songs and sounds that journey through bleak and broken territory and places of sweet, lush remove, and it adds up to the best record he's been involved in yet: his second solo album, Pale Horse Rider.Cory's first solo, The Unborn Capitalist From Limbo, was an intense affair, a grand experiment that produced inspiring, unconventional music - but this time around, he wanted to breathe a bit easier, to feel that breath in the music as well. So he and his band drove out to the desert to record in a low-stress environment: Brian Harris' Cactopia, a house surrounded by 6ft tall sculptural psychotropic cacti. They built a studio inside and then they made music and lived off pots of coffee and chili and cases of Miller High Life as they played guitars, bass, keyboards and drums in what seemed increasingly like a living biomech, their tech made out of fungal networks and cacti needles.It was loose and flowed onto tape well. Recorded by Robbie Cody and Zac Hernandez (who assisted on Wand's Laughing Matter), the sounds were great from the get-go. First takes were mostly best takes. Fueled with DNA lifted from country-rock cut with native psych and prog strands, Cory guided his craft toward the cosmic side of the highway, a benevolent alien in ambient fields hazy with heat and synths, early morning fog and space echo spreading the harmonies wide.Pale Horse Rider's got a lot to get out of its mind, looking around and seeing that, on the surface, things don't always look like much. A lifelong Californian, Cory's naturally found himself standing to the left of most of the country. The west may b...

A long era of dull ringing and nothing else in our ears is over. Once again, winds of warm guitar and humid thunderheads of bass and toms rumble all around. With Valdez, Birds of Maya are back in flight. And like the first song title explicitly states, this latest is a soaring blast of riffers, rife with punk rock abandon, sludge, treble, distortion, neck-throttling rock n roll solos, pummeling drums and bass and half-shouted/half-gargled vocals, all of it half on and half off the mic. For the good times as always, these Birds! That's how they've done it: fast and heavy, hard, live and loose, amid accumulating piles of empties, in appropriately informal environments since 2004ish, with their three LPs (on Holy Mountain, Richie and Little Big Chief) ripping us up whenever they drop. With each release, our thirst has increased, but to our horror, we haven't found any fresh feathers from their tree in the new release bins since 2013. Somewhere in Philadelphia, Jason Killinger, Ben Leaphart and Mike Polizze played on - preferably outside (the shows are always extra-good), but wherever, really. Recorded in 2014 at Black Dirt Studios in New York. Yeah: Birds of Maya packed up their shit, drove out of North Philly to a recording studio hundreds of miles away and made an album. Kinda nuts. And then didn't release it until...well, yeah - now! Time is a test that Birds of Maya recordings need to pass before they see the light of day. At the time this was recorded, Birds of Maya were standing on the other side of ten years kicking around town, suddenly far away from the primordial ooze they'd flopped forth from. The streets where all this had happened on were changing, with new money rolling in, but they were the same old Birds, content with their libations and ear-splitting variations on old favorite Stooges chords. The cover art of Valdez is a couple images from those days, glimpses at the old grass roots before they were ripped up by developers to build condos. But nothing ever really goes away, Valdez st...

A new instrumental album of acoustic guitar playing from Six Organs of Admittance's Ben Chasny!KPM Music, the legendary British library music company, extended an offer to Ben to make some songs for their library. The field of library music (music made for hire, for use in placement in films and advertising) is one that's come to public consciousness only relatively recently in the long century of record-making, but the influence of such records has been felt for years in the aesthetics of many diverse artists, including several who've recorded for Drag City. So it's a special thing for Drag City, whose appreciation for Ben's unique artistry has been borne out over a countless variety of releases, to issue this really amazing entry in both the KPM Music tradition and the ever-expanding Ben Chasny/Six Organs of Admittance ouvre.Ben chose the acoustic guitar for these recordings after considering the width and breadth of possible music he could make for the occasion. His approach while playing it was simple - deceptively so: to make music as present and immediate and beautiful as possible. This type of playing requires a deep breath before beginning, as it has to generate from within, as well as at the fingertips.The resulting music is inventive and engaging, both in and out of the astral style of Ben's music and the utilitarian genre of music to which he's contributing. The album's title is a clue to these dual intentions, as is Ben's use of his given name rather than the 6OOA alias he has preferred in his career. These songs manifest lovely themes played on acoustic guitar, recorded with spacious, almost pastoral ambiance; richly evocative pieces that can fill the multiple purposes of any sound library around the world.Two decades-plus into his life in music, Ben's got the craft and ability to make music that can be encompassingly heard as intimate AND universal.Going for melody, Ben employs a relaxed technical facility, supported by a few guitar overdubs, plus several well-placed synths and a...

Rolling out of the mist and dust and silence of time, Ty Segall is behind the wheel of a sleek new ride, a confetti of pages torn from his ongoing saga blizzarding into the air behind him.With Harmonizer, his first album in two years, Ty glides smoothly into unexpected territory, right where he likes to find himself! Responding to the challenge his new songs gave him: a synthtastic production redesign, Ty kicks back with bottom-heavy creativity, dialing up a wealth of guitar andkeyboard settings to do the deed. Harmonizer is a glossy, barely-precedented sound for him, and truth, it enraptures the ear - but in Ty's hands, the sound is also a tool that allows him to cut through dense undergrowth, making for some of his cleanest songs and starkest ideas to date. Harmonizer's production model couches tightly-controlled beats in thick keyboard textures, with direct-input guitar signal whining and buzzing purposefully from left to right. The Freedom Band appear all over the record, but often one at a time, their contributions leaving a distinctive footprint on the proceedings wherever they appear. Operating in this airtight environment with an eye towards precision, feel, and explosive mass, Ty's crafted a formidable listening encounter - and once you get between the lines, the need to know more grows more compelling with every song.The thing about closed doors is they need opening again, no matter what happens. You open them and then you can pass through them. And there's light on the other side. That's what this album is about.The first recording to be released from Ty's just-completed Harmonizer Studios, Harmonizer benefits from a collaboration with Cooper Crain, who co-produced the album with Ty. The Venn diagram of these guys unites them in DIY/punk dyed-in-the-wooldom; Ty's propers you know, but Cooper's own unique journey in rhythm, minimalism and DIY (as heard on his productions with CAVE, Bitchin Bajas and Jackie Lynn) mines the depths around Ty's peerless vocal attack and aid in the latest c...

Rolling out of the mist and dust and silence of time, Ty Segall is behind the wheel of a sleek new ride, a confetti of pages torn from his ongoing saga blizzarding into the air behind him.With Harmonizer, his first album in two years, Ty glides smoothly into unexpected territory, right where he likes to find himself! Responding to the challenge his new songs gave him: a synthtastic production redesign, Ty kicks back with bottom-heavy creativity, dialing up a wealth of guitar andkeyboard settings to do the deed. Harmonizer is a glossy, barely-precedented sound for him, and truth, it enraptures the ear - but in Ty's hands, the sound is also a tool that allows him to cut through dense undergrowth, making for some of his cleanest songs and starkest ideas to date. Harmonizer's production model couches tightly-controlled beats in thick keyboard textures, with direct-input guitar signal whining and buzzing purposefully from left to right. The Freedom Band appear all over the record, but often one at a time, their contributions leaving a distinctive footprint on the proceedings wherever they appear. Operating in this airtight environment with an eye towards precision, feel, and explosive mass, Ty's crafted a formidable listening encounter - and once you get between the lines, the need to know more grows more compelling with every song.The thing about closed doors is they need opening again, no matter what happens. You open them and then you can pass through them. And there's light on the other side. That's what this album is about.The first recording to be released from Ty's just-completed Harmonizer Studios, Harmonizer benefits from a collaboration with Cooper Crain, who co-produced the album with Ty. The Venn diagram of these guys unites them in DIY/punk dyed-in-the-wooldom; Ty's propers you know, but Cooper's own unique journey in rhythm, minimalism and DIY (as heard on his productions with CAVE, Bitchin Bajas and Jackie Lynn) mines the depths around Ty's peerless vocal attack and aid in the latest c...

Dans Dans bestehen aus drei der profiliertesten Jazz/Rock-Musiker Belgiens: Bert Dockx (Flying Horseman), Fred 'Lyenn' Jacques (Lyenn, Mark Lanegan Band) und Steven Cassiers (Dez Mona, Daau), die auch ausserhalb des Landes eine treue Fanbase haben. Mit dem neuen Werk "Zink" legen Dans Dans, die in der Vergangenheit bereits Nick Drake, Ennio Morricone, Ornette Coleman, David Bowie und Robert Wyatt gecovert haben, eine superbe Exkursion aus Jazz, Psychedelic-Blues, ekstatischen Noir-Soundtracks und spacey Rock'n'Roll, produziert von Christine Verschorren (Philippe Catherine, Ivan Paduart), vor. DigipakCD plus zwei unterschiedlich farbige LP-Formate.

Ty Segall meets a new non-rock challenge head-on; soundtrack music for the documentary film Whirlybird. A variety of synth sounds, electric keyboards, drums, percussion and saxophone (and yeah, a few guitars) form a shifting impressionist counterpart, instrumental music that dialogues with and serves to frame the film's compulsive themes and images.

Tossing down straight acoustic shots with electric guitar back, Hello, Hi rides through the valley of yer ol' Canyon legends, finding an isolated place to unspool Ty's copious reserves of nervous energy beneath an open sky. Swarms of harmony vocals caper among the clouds, but there's a rider on the horizon behind, with crossbow trained on his very own heart - the engine driving all the relationships of life, whether down Broadway or over the cliffs at night! Whatever doesn't get killed is getting stronger all the time. A lean, mean deal, baked in saltwater and sunlight, compassion pouring out it's beautiful blue eyes.

For their Drag City debut, the enigmatic duo expand into eight-armed wonder; all the better to reach ever-deeper into their bag o' tricks. Slinky and sliding elegantly, the kids forge tunes with a harmony of ambiguity and nostalgia, effortless yet precise, and rounded with thick bottom - a dancing clash of cognition and dissonance!Since 2015, Kamikaze Palm Tree have been a relative mystery. Now, in times no less mysterious, Drag City welcomes them, celebrating the energy of their second LP, where KPT play their offbeat strain of 21st century rock.Making MINT CHIP, Dylan Hadley and Cole Berliner reach deeper into their bag of tricks than ever before, dialoguing with an absurd shared intent they haven't yet paused to question. The off-center pieces gathered together for Good Boy have given way to pulsing aquatic compositions on MINT CHIP. Cole's guitar tones, wire thin, bell-like, bluesily downtuned, slinky and sliding elegantly, arc purposeful around their peripherals. Dylan's kit work, effortless yet precise, grounded with heavy bottom, drives and interacts organically with all the emerging structure, nailing down finely detailed frames and canvases to backdrop her singing and the unremitting landing of melodies and songs. With the addition of Josh Puklavetz, things that didn't make sense before - like bass - are now on the beach, fully lotioned, essence to essence. Violin and clarinet (Laena Myers Ionita and Brad Caulkins, respectively) round out the tonal spectrum. All strung together in the foothills of Altadena's Wiggle World Studios with Hartling back in the engineer's seat and Tim Presley producing the proceedings!

With their duo debut, Dean Spunt and John Wiese invite you to experience the frenzy of percussive space and discreet sound found inside The Echoing Shell.This is the first official collaboration between the two veteran music-makers, though their connection goes back to 1999. As John recalls, "[Dean] was in a high school arts program at CalArts. A friend and I were recording the first Sissy Spacek demo in the design studios there, and taking a tape to my car over and over again to check the mix. Dean was walking through the parking lot with a Locust shirt on, we said hello, and he immediately got into a car with two strangers to 'listen to a tape'."The tape-listening ended well, apparently. Dean and John became friends and fellow travelers in L.A. circles and beyond: in 2005, John did a remix for Dean's first band, Wives; in 2007, Dean played percussion with Sissy Spacek's 13-Tet Los Angeles; John toured with No Age several times and collaborated live with them in 2010. Under the Sissy Spacek name as well as his own, John's recordings for his own Helicopter label and many others kicked things off for him around the end of the century; since then, he's been constantly engaged in solos and collaborations on record, performances, and installations around the world.In addition to Dean's ever-growing discography with No Age, he curates his own label, Post Present Medium. In 2018, Radical Documents released Dean's solo debut EE Head, which explored concrète and experimental techniques in a four-part, album length piece.The Echoing Shell is born of Dean and John's shared understanding, using John's process common to Sissy Spacek: elaborate sound-collage works using source material originating from punk, hardcore and improvised music. A series of impositions, tape manipulation and edits recompose the material, cracking open the crust of the source, freeing its implied guts to steam forth in gushes of extreme noise. On The Echoing Shell, this is as often noise as it is extreme intimacy, seeming at times t...