Available now from Lavender Vinyl — Recorded by Casey Romney in Ogden, UT; Mixed by Stephen Cope at Studio Studio Dada in Provo, UT; Mastered by Cade Thalman; Genevieve Smith – Cello, Vocals; Spencer Howe – Bass; Carson Wolfe – Drums; Jory Carroll – Lead Guitar; Joe Kingston – Pedal Steel; Sydney Jo Goodwill – Piano; Kat Day Romney – Vocals, Banjo; Harvey Day – Vocals; Josaleigh Pollett – Guitar, Lead Vocals. Front Cover by Eden Buxton; Back Cover Photo and Lyric Insert Photo by Trevor Wilson; Layout Design by Jackson Kerbs. Grab one today!
Pre-Order Rachael Yamagata’s new album Tightrope Walker now! Also, the Tightrope Walker North American Tour starts on 9.19, and you can grab tickets now as well!
Available on vinyl from Rocket Heart Records. The Marvelous Cheer EP differs from it’s original CD counterpart. This limited edition 12″ pressing has been remastered for vinyl and includes updated album art, insert art drawn by HARPS’ own Kaitlin Uemura, etching on Side B, and a HQ digital download of the entire EP.
Robbie Fulks‘s storytelling through folk and bluegrass music on Upland Stories delivers the quieter, sometimes unsettling truths of humanity.
Coming of age in the 1960s and 1970s in Virginia and North Carolina, at the edge of the broad “upland” region referenced in the record’s title, provided depth and detail for Fulks’s songs about the mysteries of memory, the vanishing of cherished things, and the struggles of everyday life. Robbie tries to make songs that offer more than verse-chorus-hook: songs that have space, calmness, unresolved tensions, and the hallmarks of lived experience. This sort of complexity is displayed in “Fare Thee Well, Carolina Gals,” an intimate folk song from the perspective of a man who has let life’s possibilities pass him by, and in “Never Come Home,” in which a sick man returns to spend his last days among an unwelcoming clan of pious, hard-bitten East Tennesseans.
Available from Bloodshot Records April 1 (pre-order is up now).
Available for pre-order now (released 04/05/2016): DJ Vague – Restoring Nature. Drones created by Government Engineers, financed by the elite, built to keep the people in line ultimately rebel against their makers. A battle raged for decades until the drones decided to strike a deal with their once great overlords. The deal would allow the drones to continue to help with the enslavement of the lower rankings of mankind. In return, once the last of the elite left the planet to their new home, the Drones would begin to terraform the planet back to its original form of chaotic nature, ridding the planet of humans, technology and AI of any kind. Thus, Restoring Nature. There is another deal happening… one kept hidden and in silence that will forever change the history of the ANARCHOSTAR.
A rare look into the discotheque era of Waikiki, Al Nobriga’s “My Last Disco Song” tells of a time when nightclubs lined Kalakaua Avenue and practically every hotel hosted live entertainment. Seven days a week, locals rubbed elbows with visitors in discos like The Point After, Cock’s Roost, Garden Bar, Infinity, Duke Kahanamoku’s, Foxy Lady Too, Valentino’s, Hawaiian Hut—the list goes on.
In the years following the release of Al Nobriga with Island Company’s LP, They’re Playing My Music, a massive shift in Waikiki’s tourism industry began. More and more nightclubs closed their doors or hired duos and disc jockeys to entertain guests. The venues that once lined Kalakaua Avenue eventually gave way to newly constructed luxury shopping centers, a trend that continues into the 21st century.
Nobriga offers a poignant escape from what would soon become decades of ongoing development in Waikiki. Not just another yacht rock tune, “Break Away” carries the listener to a place where one finds enlightenment in the tropical winds and cool ocean blue, far from the concrete jungle of Honolulu.
Psychic upheaval through art! Break Open the Head is the follow-up to Suit of Lights‘ critically-acclaimed Shine On Forever, which was included in “Top Albums of the Year” lists from Brooklyn’s The Big Takeover to the UK’s Instrumental. Pre-order is up!
Lilting melodies, including a shimmering cover of Eduardo Mateo’s ‘Mejor me voy,’ infused with an undercurrent of bossa nova and the drowsy, faded memory of sun-drenched islands. All of this melodic loveliness is made ever-so-groovy in an Afro-Cuban sort of way thanks to a mighty contribution from world famous percussionist Jorge Trasante, Totem drummer Roberto Galletti, and Limonada drummer José Luis Sosa. Pippo Spera had come into the orbit of Uruguayan master Eduardo Mateo back during the days of El Kinto (one of that band’s finest songs is about a visit by Mateo to Pippo’s house). From 1967 to 1970, Pippo concentrated on studying classical guitar at the Conservatorio Nacional of Uruguay, until the military dictatorship closed the school.
So, Pippo started his songwriter career, which culminated in 1975/1976 with the recording of “A Buen Puerto.” As Pippo says, “It was a beautiful experience to me. I had the help of the best musicians in town, they were like brothers. At that time in Uruguay, nobody used to get money to perform in a recording studio; for the musicians it was a pleasure, it was just love of art…” After the release of this LP, Pippo decided to leave a Uruguay oppressed by a brutal dictatorship. He sailed to Brazil in a ship much like the one hovering behind him on the “A Buen Puerto” album. Brazil was indeed “a good port” for Pippo—he became friends with many of the best Brazilian musicians of those years: Milton Nascimento, Geraldo Azevedo, Renato Rocha, and Alceu Valença, and ended up writing for and playing on Nascimento’s “Clube da Esquina 2” album.
Word is Beech Creeps formed in Brooklyn, New York in 2013. Despite being devoted to drinking rum and lazing on hammocks, they quickly became a favorite at venues like Death By Audio and Shea Stadium for their balls out live shows. And after releasing in rapid succession the digital/cassettes Meet the Creeps and The Crashing Booms, Beech Creeps has emerged from the studio (the studio in this case being the immense gallery at Bushwick’s Secret Project Robot) with Beech Creeps, available from Monofonus Records.
Recorded by Jonathan Schenke who has worked with Parquet Courts and PC Worship, this self-titled album captures the glory of the Creepsound– at times sublime, crusty, swirling and headbanging. This is a record of solid rock, liquid water, floating detritus and violent storms. Lightning and thunder and the beautiful calm that follows. It growls, it screams, it thumps, it drives. Yes, you are caught in the ocean whirlpool of rock n’ roll, straight down to the garbage disposal at the bottom and you can’t escape until it lets you go, right about the 39 minute mark.