Search "fettes brot:" 330 Items

Aesthetically, Ed Schrader’s Music Beat hates to tread water. At the same time, the Baltimore-based two-piece of vocalist Ed Schrader and bassist Devlin Rice won’t force their songs to fit a preconceived style. “The next album’s always gotta be different from the last one. We’re different people from record to record. So, writing authentically to ourselves will always bring our work to a place that we haven’t been to yet,” Rice said. Schrader added, “We’re terrified of turning into Ac/dc. We never want to be married to one scene or time or sound. We want to be the Boba Fett of bands! Constantly altering the way in which we make records has been pretty key in that process.”

For Orchestra Hits, the band’s latest, that alteration was welcoming longtime musical comrade Dylan Going into the fold as a co-writer and co-producer. A songwriter in his own right, a guitar sideman for Esmb on their last two tours, and a collaborator with Rice in the noise riffage band Mandate, Going had both a unique vision and an intimate familiarity with the Esmb vibe.

“Dylan came to every show we’ve ever played in New York—no matter how weird it was,” Schrader said. “He’d be standing there ready to move an amp or feed us barbecued cactus after the gig and toss on some Golden Girls so we could decompress. It felt like family as soon as we began working, but I honestly had no idea how damn good he was at tossing out these hooks.”

According to Schrader, the songs “just poured out of us” over the course of a highly caffeinated three-day weekend in a tiny room in Devlin’s house while his cat, Sandy Goose, screamed continually. “It was like three kids hiding from the world to get into some lovely mischief,” they said. The lack of external pressure in the process gives Orchestra Hits an almost paradoxical vibe. For all of the album’s layers, that mix live and sequenced instruments, it never loses the raw energy of a small handful of friends in the same room plugging in, cranking up, and playing until they pass out.

Lyrically, the album finds Schrader, now 45, meditating on experiences in their youth to make sense of the present moment. “We are not into the garden,” Schrader wails on the relentless “Roman Candle,” a song about the sad debacle of Woodstock ’99, and a direct response to Joni Mitchell’s “Woodstock,” a utopian ode to hippie idealism. A 19-year-old Schrader, having snuck into Woodstock ’99 through a hole in the fence, was there the night members of the crowd used candles intended for a vigil for victims of the Columbine High School massacre to set fires all over the grounds. Even before the fires, Schrader remembered feeling disconnected from the music, the nostalgic cash grab, and the meatheads in the crowd. After watching a press tower collapse, they boarded a random

shuttle bus and were dropped off near a Denny’s. “It was a far cry from the Garden of Eden,” Schrader said. “That experience defined what I didn’t want to be a part of, and yet America is more like Woodstock ’99 than ever.”

With percolating synthesizer arpeggios, and climbing bass grooves, “idks” is the album’s dance-floor slapper. “’idks’ is a funny one,” Schrader said. “We already had a pretty satisfying suite of songs when Dylan was packing up to head back to New York, but he missed the train because of a freak snowstorm. Realizing he’d be stuck in town another day, he says to me, ‘Here’s this other weird thing I have.’ It was ‘IDKS.’ The hooks were so good I felt like Homer Simpson at a free donut convention. I just dove right in, and we cranked that baby out in like 20 minutes.”

Lyrically, “idks” is a letter from the true self to public-facing self. “It’s an angry song,” Schrader said. “Because the public-facing self is always looking for an easy escape, but it forces the true self into a cage. I honestly thought my lyrics were corny and was about to change them, but Dylan was digging it just the way it was. So that’s what you hear.”

With the soaring “Daylight Commander,” the band went against all of their musty-basement-bred instincts. “I went full High School Musical with the vocals,” Schrader said. “At first it felt almost embarrassing, but I remember reading somewhere that Bowie recommended always floating a little bit above your comfort zone, and that’s what we did here.” The song is part exercise in absurdity and part pop Trojan horse. “If ever we had a ‘Shiny Happy People’ moment, I guess this is it,” Schrader said.

For the third Marfa Myths release, Mexican Summer is proud to present seven all-new songs written and recorded by Stockholm's psychedelic masters Dungen and adventurous Brooklyn indie-folk pioneers Woods. As the Marfa Myths record series progresses, the spirit of the collaborations between the artists chosen - one a member of the Mexican Summer family, the other for which we share deep admiration - deepens as well.

The new album of Daniel is -again- an exclusive collection of beautiful songs. A little more introspective than its debut (Cross the Water, 2017) and recorded in Edinburgh with the help of many friends, he sings better than ever, always with the spirit of Brian Wilson and Lennon (among others) around his mind.

Community building is maybe the most punk thing all of. Recent Halifax to Ottawa transplant Matty Grace (Cluttered, Century Egg, Future Girls) wasted no time in recruiting Ottawa punk mainstays Anthony Cardozo (Precious Failures, The Flying Hellfish) and “Ska” Jeff (Doxx, Dogma, Zooman) to bring Crisis Party to life. Blending influences from the Wipers to Wire and the Marked Men with the ethics instilled by those that came before them. Crisis Party is here to let you know it’s ok to struggle. Life is suffering. Let’s Party!

"What happens when a band decide to fly? They become the primordial bird from Tor Ulven’s poem. The sensation of flying is striking. The musicians seem to levitate, so too their audience." – Susanne Christensen

On his sophomore album, Urfuglen, Christian Winther draw lines back to the post-punk era’s way of combining contemporary impulses with artistic sensibility. And following up on his debut album from last year, «The Clearing» (Fysisk Format), noise and experimentation is part of the picture also here, but with a genuine desire to find the beautiful moment, the shimmering harmony.

«It becomes the evocative sound of joy, immensely uplifting and markedly anti-depressive.», writes the danish art critic and writer Susanne Christensen on the album’s liner notes.

Behind the title and the Norwegian lyrics, Tor Ulvens surreal debut «The shadow of the primordial bird» from 1977 shines through. In Winther’s, like in Ulven’s, fabulating universe, surrealism’s instinctive, inward-looking and dreamy pictures are used as a way of processing the often cold and ruthless ravaging happening out there. But most importantly; to remind us of the connections we have with each other.

The «flying» band consist of some of the country’s most open minded, or post-punk-thinking, musicians from bands like Broen, Valkyrien, Monkey Plot and Mall Girl. Anja Lauvdal on synths/piano, Tuva Syvertsen on fiddles/vocals, Ina Sagstuen on vocals/electronics, Magnus Nergaard on bass and Veslemøy Narvesen on drums, in addition to Winther on guitars and voice. They each have strong signature expressions and contribute to an open soundscape full of spice, surprises and spontaneity. The intuitive is striking, and the record is mainly recorded live in the studio.

Urfuglen was born as a commissioned work for the edgy Oslo-festival Motvind’s 5 year anniversary, a perfect arena to present forward thinking music that can stand on its own completely free from the established genres. Within the open festival umbrella rock, free jazz, poetry, protest and spontaneity naturally coexist, and Urfuglen is exactly that. Last year’s lockdown turned the live premiere into a studio premiere, the musicians exhibiting a strong improvised attitude on top of Winther’s alternative rock compositions.

Although noise and experimentation is part of the picture, the influence from Brazilian music, or the way the guitar somehow found a new melodic balance in the 90s Chicago scene, seems just as strong. Contrasts find a harmony here, listen to Valkyrien’s Tuva Syvertsen singing harmonies with Winther on «Urfuglen, Pt. 2», or the acoustic guitars on «Marmor» intertwining like something Jim O'Rourke and Gastr Del Sol companion David Grubbs would come up with in the 90s. The musical relations are many; in addition to the post-punk-mood, threads go out to Brazilian Tropicalia, Japanese psychedelia and Oslo’s improv scene, who most of the musicians on the record are a part of.

Cititrax is honored to introduce Bruta Non Calculant, a new project by Alaxis Andreas G, the mastermind behind Le Syndicat Electronique and numerous other analog electronic, experimental and esoteric industrial folk projects. Alaxis formed Bruta Non Calculant in 2006 along with his brother Victor-Yann (De Frontanel). Their debut album, World In A Tear, presents 10 tracks drenched in a dark european atmosphere complete with a sound fully formed and heroically executed. Themes of death, lust and unrequited love are all bound in this brown book-esque collection. The songs occupy their own space and communicate in their own language and as such almost seem to have the ability to alter time once the listener has succumbed to their discordant beauty. An unsurprisingly impressive comeback, Bruta Non Calculant’s debut album blends new wave elements with folkloric balladry impeccably, and approaches this with a modern sensibility.

Stunning debut, from French art rockers Bruit! Initially the band performed their creative research and sonic experiments solely in a studio setting. In the world of Bruit ≤, spontaneous experimentation, thoughtful composition and the aspect of performing in order to create are different but inevitably inseparable techniques of working on the same fabric: the black magic that is creating music. Artistic Identity comes from reconciling these different techniques and approaches of working on and with that fabric, and to understand this better while listening to this album, it helps to make yourself aware that one half of the musicians is classically trained, while the other half is not and barely knows how to read notes. The shifting to and fro between theory and practice, between research and performance and between thought and action are ultimately also reflections of the band’s fiercely activist mind-set. Bruit ≤ have everything a quintessential post-rock act needs, from an excessively long album name to drawn out compositions driven by atmosphere to immaculate climaxes led by soaring, delay-soaked guitars. The band effortlessly flows from atmospheric post-metal to free jazz, and from folktronica to neo-classical avant garde improv. Bruit ≤ can only be fully understood through their attitude rather than their musical influences, from the environmental agenda to the group's staunch boycott of Spotify because of the platform's notoriously sad pay-outs for musicians and their CEO Daniel Ek's recent investments in the arms industry... In that, the group is firmly nested in the tradition of political instrumental rock bands like Godspeed YOU! Black Emperor, and the tumultuous yet wordless sound of the revolution that they stand for is indeed somehow related to Bruit ≤'s own musical landscape.

Experimental Rock / Abstract Hip-Hop / Post Industrial musicPascal Bouaziz used to be the singer and leader of French rock band Mendelson, and "Bruit Noir" (Black Noise) is his side project. This is a completely new venture, a departure from everything he's done over the last 20 years, bringing together hard-hitting lyrics and biting sounds. Boaziz has improvised lyrics over music by drummer Jean-Michel Pirès, who has played with Bed and Married Monk, a blend of the stripped-down clarity of Pérec's A Man Asleep and the stormy punk of Suicide.Crossing the boundaries of the politically incorrect, Bruit Noir offers a raw, hard-hitting album, where the sincerity of the words blends with the intensity of the compositions.

We’ve been fans of Broadway Calls for a while now and after years of pestering they finally gave in and joined the team. Their exact words were, “It would take a catastrophic act of god that destroyed the music industry for us to consider working with Red Scare.” And what do ya know! Thank you, 2020. (Ironically, the record is about the impending civil war and apocalypse… so maybe this is all their doing?!) Then we sent ‘em down to the Bay Area to work with Scott Goodrich (Culture Abuse, Direct Hit!, etc.) and they emerged with the best 11 songs we’ve ever heard from this Oregon trio. Sad In The City is fast, it’s loud, and most of all it is catchy as hell. It’s their finest full length and it’ll likely go down as one of the top releases in our entire catalog.

In 2022, the pandemic seemed to be receding to the point where artists could work together again, literally side by side. So, as a kind of 'follow-up' to my Joyful Noise 2020 Artist-in-Residence box set, I revisited the notion of a limited-edition vinyl box celebrating the joys of collaboration. i thought about it for a good long while, and eventually, It felt good. I then put the idea under a microscope and found that it felt even better when i minimized the project to six 33rpm EP's on 7" vinyl. The borderless landscapes of audio art, tempered by the imaginations of the artists I chose to work with, then cast against the myriad infinities of mysteries betwixt those ageless, spinning rings...those rings that seem to sing, "...listen to us..."It all begins with imagery. Always. Let it be. If You fall in Love with the process, it's possible that the process will Love you back. The end results are important, but nothing is more important (to me) than the changes we experience as a result of the process. How are we different now, after the music is done? What has happened to us, because of these sounds we have made together, and these songs we have made? And, of equal importance... can the listener sense that something is happening o the artists as a result of their collaborations? And...can the listener experience some of that, too?RINGS OF SATURN won't change the world, but the words & music dervishing off these grooves accurately expresses the Love poured into the foundations beneath these Nocturnes (w/ Britta Phillips) and Psalms (w/ David Grubbs) and Preludes (w/ Eerie Wanda) and Elegies (w/ Jad Fair & Danielson) and Laments (w/ Paul Leary) and Hymns (w/ Rob Crow). working with others is my lifeblood. I am Nothing without them.TIME, with all its mysteries intact, and unfettered by borders, so that both the artists and the listeners can enter, in partnership, together. -Kramer, 2023

Angelo is an EP, named after a car, featuring nine songs Brijean have crafted and carried with them through a period of profound change, loss, and relocation. It finds percussionist and singer Brijean Murphy and multi-instrumentalist/producer Doug Stuart processing the impossible the only way they know how: through rhythm and movement. The months surrounding the acclaimed release of Feelings, their full-length Ghostly International debut in 2021 which celebrated tender self-reflection and new possibilities, rang bittersweet with the absence of touring and the sudden passing of Murphy's father and both of Stuart's parents. In a haze of heartache, the duo left the Bay Area to be near family, resetting in four cities in under two years. Their to-go rig became their traveling studio and these tracks, along with Angelo, became their few constants. Whereas Feelings formed over collaborative jams with friends, Angelo's sessions presented Murphy and Stuart a chance to record at their most intimate, "to get us out of our grief and into our bodies," says Murphy. They explored new moods and styles, reaching for effervescent dance tempos and technicolor backdrops, vibrant hues in contrast to their more somber human experiences. Angelo beams with positivity and creative renewal _ a resourceful, collective answer to "what happens now?". Angelo the car is a 1981 Toyota Celica they got off Craigslist during their first stint in Los Angeles, where Murphy and Stuart have since settled. "Such a bro-y, `80s dude car, it's been super fun to drive around in a new town," Murphy says. "He's older than us, he's a classic, he's got a story." It is a spiritual vehicle with a cinematic appeal, first dropping them off in an alleyway for the scene-setting intro, "Which Way To The Club." The question is quickly resolved by "Take A Trip" as a cruising basslinemingles with crowd sounds, hand-claps, cuíca hiccups, whip-cracks, even a horse neigh. Brijean have found some club on this cross-dimensional trip - the kind of imagined space or cham...

No box. Disc 3 and 5 ONLY (Every Day And Every Night / Don't Be Frightened Of Turning The Page). Inner sleeves with stickers. Vinyl with a couple of light scuffs

CD comes in a soft case, instead of the original crystal case. All booklets included.

Lifted or The Story Is in the Soil, Keep Your Ear to the Ground Originally released 2002. "The first three are innocent in a way, because we didn't have an audience when we were making them," Oberst says. "But from Lifted on, I was definitely aware of an audience. Lifted was well-received right away, and then everything happened with Wide Awake and Digital Ash." Those two albums came out simultaneously. And their lead singles - "Take It Easy (Love Nothing)," from the austere, remote Digital Ash, and "Lua," from the warm, folky Wide Awake - debuted in the top two slots on the Billboard Hot 100. "First Day of My Life," also from Wide Awake, would later be voted the Number One love song of all time by NPR Music's reader's poll. Bright Eyes had officially broken through. It was a heady, exciting time, but also fraughtand tense, both because of the band's careening new fame, and because of the state of the world. When Bright Eyes made their Tonight Show debut in 2006, they chose to perform none of their shiny new hits, instead delivering a searing, harrowing rendition of their caustic anti-Bush anthem, "When The President Talks To God." These days, Oberst is still amusing himself by messing with the extremes Bright Eyes baked into this

CD comes in a soft case, instead of the original crystal case. All booklets included.

Opaque Gold Vinyl! "The first three are innocent in a way, because we didn't have an audience when we were making them," Oberst says. "But from Lifted on, I was definitely aware of an audience. Lifted was well-received right away, and then everything happened with Wide Awake and Digital Ash." Those two albums came out simultaneously. And their lead singles - "Take It Easy (Love Nothing)," from the austere, remote Digital Ash, and "Lua," from the warm, folky Wide Awake - debuted in the top two slots on the Billboard Hot 100. "First Day of My Life," also from Wide Awake, would later be voted the Number One love song of all time by NPR Music's reader's poll. Bright Eyes had officially broken through. It was a heady, exciting time, but also fraughtand tense, both because of the band's careening new fame, and because of the state of the world. When Bright Eyes made their Tonight Show debut in 2006, they chose to perform none of their shiny new hits, instead delivering a searing, harrowing rendition of their caustic anti-Bush anthem, "When The President Talks To God." These days, Oberst is still amusing himself by messing with the extremes Bright Eyes baked into this era's releases, extremes that reflected the polar, with-us-or-against-us, fractious feel of the times. The reworked Digital Ash tracks, originally so clean and elegant, are, on the companion EP, full of "harmonica and mandolins - folky vibes," Oberst says. While the analogue sweetness of the Wide Awake songs have been put through a detached nihilism filter.

2022 Dead Oceans' reissue of the second album by indie rock band Bright Eyes. Letting Off the Happiness was orginially released on November 2, 1998. It was the first release by Bright Eyes to feature and be produced by Mike Mogis, now a permanent member of the band. Guest musicians include members of Cursive, Tilly and the Wall, and Elephant 6 collective's Neutral Milk Hotel and of Montreal.

It's the desire to celebrate their sonic bounty that first got Oberst and the band excited about the idea of comprehensive reissues. But this wouldn't be a Bright Eyes project if a moment devoted to appreciating the past weren't turned into an opportunity to connect with the future. That's where the nine companion EPs come in. Or as Oberst puts it, "the supplemental reading" for the primary reissues: One six-track EP per reissued album, each featuring five reworked songs from that album. "My thing was they had to sound different from the originals, we had to mess with them in a substantial way." Plus one cover that felt "of the era" in which that particular albums was made - a song that meant something to the band at the time. To help the EPs come alive in the fullest way, Bright Eyes called in lots of old friends, like Bridgers, M. Ward, and Welch and Rawlings, as well as new ones like Katie Crutchfield of Waxahatchee.

Opaque Gold Vinyl! "The first three are innocent in a way, because we didn't have an audience when we were making them," Oberst says. "But from Lifted on, I was definitely aware of an audience. Lifted was well-received right away, and then everything happened with Wide Awake and Digital Ash." Those two albums came out simultaneously. And their lead singles - "Take It Easy (Love Nothing)," from the austere, remote Digital Ash, and "Lua," from the warm, folky Wide Awake - debuted in the top two slots on the Billboard Hot 100. "First Day of My Life," also from Wide Awake, would later be voted the Number One love song of all time by NPR Music's reader's poll. Bright Eyes had officially broken through. It was a heady, exciting time, but also fraughtand tense, both because of the band's careening new fame, and because of the state of the world. When Bright Eyes made their Tonight Show debut in 2006, they chose to perform none of their shiny new hits, instead delivering a searing, harrowing rendition of their caustic anti-Bush anthem, "When The President Talks To God." These days, Oberst is still amusing himself by messing with the extremes Bright Eyes baked into this era's releases, extremes that reflected the polar, with-us-or-against-us, fractious feel of the times. The reworked Digital Ash tracks, originally so clean and elegant, are, on the companion EP, full of "harmonica and mandolins - folky vibes," Oberst says. While the analogue sweetness of the Wide Awake songs have been put through a detached nihilism filter.

"The first three are innocent in a way, because we didn't have an audience when we were making them," Oberst says. "But from Lifted on, I was definitely aware of an audience. Lifted was well-received right away, and then everything happened with Wide Awake and Digital Ash." Those two albums came out simultaneously. And their lead singles - "Take It Easy (Love Nothing)," from the austere, remote Digital Ash, and "Lua," from the warm, folky Wide Awake - debuted in the top two slots on the Billboard Hot 100. "First Day of My Life," also from Wide Awake, would later be voted the Number One love song of all time by NPR Music's reader's poll. Bright Eyes had officially broken through. It was a heady, exciting time, but also fraughtand tense, both because of the band's careening new fame, and because of the state of the world. When Bright Eyes made their Tonight Show debut in 2006, they chose to perform none of their shiny new hits, instead delivering a searing, harrowing rendition of their caustic anti-Bush anthem, "When The President Talks To God."