FRACTURED AIR

The universe is making music all the time

Posts Tagged ‘ORCAS

Fractured Air x Blogothèque – S02E04 | April mix

leave a comment »

fracturedair_april17April’s mixtape opens with “I Can’t Find Water”, album opener for Hauschka’s latest full-length “What If”, yet another monumental and sprawling opus courtesy of the Dusseldorf-based artist Volker Bertelmann. Recorded mainly in Berlin with Francesco Donadello, “What If” gloriously mirrors Hauschka’s own transcendental live performances, where worlds of both analogue and digital (a mixture of various synthesisers, grand pianos, player pianos and percussive instruments) effortlessly interweave in scintillating long-form compositions. “What If” is the sound of a producer as much as a pianist, confirming Hauschka as one of brightest burning jewels in independent music today.

Berlin-based and Stockholm-born songwriter Molly Nilsson releases her much-anticipated new full-length “Imaginations” this May, the follow-up to 2015’s stunning “Zenith” LP. Night School Records have also been busy re-issuing Nilsson’s back catalogue in recent times, most recently with the re-issue of her breakthrough second LP “Follow The Light”.

One of the year’s most staggering releases comes (once again) courtesy of James Leyland Kirkby’s The Caretaker project. “Everywhere at the end of time” is the epic six-album odyssey (April saw the release of “stage two”) which will take three years to conclude. The series draws upon the conceptual framework of dementia, and how the disease impacts the mind and memory. In the words of Kirkby: “The second stage is the self realisation and awareness that something is wrong with a refusal to accept that. More effort is made to remember so memories can be more long form with a little more deterioration in quality. The overall personal mood is generally lower than the first stage and at a point before confusion starts setting in.”
April’s mixtape also features a selection of new releases from: Clark’s “Death Peak” (Warp); Forest Swords’ “Compassion” (Ninja Tune); Nan Kolè’s “Malumz” EP (Black Acre); Mary Lattimore’s “Collected Pieces” (Ghostly International); Homeboy Sandman’s “Veins” (Stones Throw) and Mount Eerie’s “A Crow Looked At Me” (P.W. Elverum & Sun).

Fractured Air x Blogothèque – S02E04 | April mix

 

To listen on La Blogothèque:

http://www.blogotheque.net/2017/04/27/fractured-air-x-blogotheque-s02e04-april-mix/

 

01. Hauschka“I Can’t Find Water” (City Slang / Temporary Residence)
02. Forest Swords“Arms Out” (Ninja Tune)
03. John Hassell“Miracle Steps” (Optimo Music)
04. Clark“Catastrophe Anthem” (Warp)
05. The xx“A Violent Noise” (Four Tet Remix) (Young Turks)
06. Talaboman“Samsa” (R&S)
07. Nan Kolè“Bayefal” (Black Acre)
08. Vex Ruffin“Front” (Stones Throw)
09. Homeboy Sandman“Bamboo” (Stones Throw)
10. Chromatics“Circled Sun” (Italians Do It Better)
11. Bibio“Feeling” (Knx Remix) (Warp)
12. Dunkelziffer“Colours and Soul” (Emotional Rescue)
13. Lewis Furey“Lewis is Crazy” (Aquarius)
14. Scott Walker“Montague Terrace (In Blue)” (Philips)
15. Angelo Badalamenti“Love Theme” (Mulholland Drive OST, Milan)
16. Mount Eerie“Toothbrush / Trash” (P.W. Elverum & Sun)
17. Dinah Washington & Max Richter“This Bitter Earth / On the Nature of Daylight” (La French OST, Gaumont, Légende Films)
18. Vashti Bunyan“If I Were” (FatCat)
19. Mary Lattimore“We Just Found Out She Died” (Ghostly International)
20. Leandro Fresco and Rafael Anton Irisarri“Cuando El Misterio Es Demasiado Impresionante, Es Imposible Desobedecer” (A Strangely Isolated Place)
21. Orcas (with Martyn Heyne)“Into the Night” (Soundcloud)
22. Molly Nilsson“A Song They Won’t Be Playing On the Radio” (Dark Skies Association / Night School)
23. Helado Negro“Runaround” (Alternate Mix) (RVNG Intl)
24. Julia Holter“Lucette Stranded On the Island” (Live at RAK) (Domino)
25. The Caretaker“The way ahead feels lonely” (History Always Favours The Winners)

Compiled by Fractured Air, April 2017. The copyright in these recordings is the property of the individual artists and/or record labels. If you like the music, please support the artist by buying their records.

http://www.blogotheque.net/
https://fracturedair.com/

Chosen One: Orcas

leave a comment »

Interview with Orcas.

“I usually boil it down by saying, “I write the words and the beginnings of chord structures, and Rafael makes the rest what it is.” He has such a great intuition and is a very good director when I’ve got something in mind; he knows very well how to make a given vocal line or guitar line or piano sketch fit into whatever we’re working on.”

—Thomas Meluch

Words: Mark Carry, Design: Craig Carry

orcas_poster

Orcas is the collaborative project of Thomas Meluch (Benoît Pioulard) and Rafael Anton Irisarri (The Sight Below) whose latest full-length release, entitled ‘Yearling’ — the follow-up to their sublime self-titled debut — recently saw the light of day by German independent label, Morr Music. Both artists — Benoît Pioulard’s shape-shifting hazy ambient explorations, and The Sight Below’s similarly mesmerising drone-infused electronic explorations — have been a cornerstone to all trusted independent music collections this past decade, and Orcas offers new, illuminating pathways for the pair to venture down (and audiences to gladly immerse themselves in).

On ‘Yearling’, the core duo of Meluch and Irisarri are joined by Martyn Heyne (Efterklang) on guitar and piano, and Michael Lerner (Telekinesis) on drums to build upon the shimmering ambient soundscapes of their self-titled debut, adding new layers of analog warmth to the band’s unique blend of ethereal pop creations. In contrast to the guitar improvisations and impromptu vocal sessions of the debut record, most of ‘Yearling’ was constructed from short pieces Pioulard wrote and developed while staying in Germany during the summer of 2012. Furthermore, the nuances and hidden details of Benoît Pioulard’s utterly beguiling songbook can be found interwoven in the rich tapestry of Orcas’s sonic trajectory. The album’s recording sessions took place in Heyne’s Lichte Studio in Berlin, and Irisarri’s own Black Knoll Studio back in Seattle.

Album opener ‘Petrichor’ begins with building synth passages blended with gorgeous analogue warmth, forming a beautiful ambient canvas of sound that gradually finds its way into the endearing pop gem of ‘Infinite Stillness’ (if ever a song-title embodies the music of its creator, it is this). A deeply affecting hazy pop gem radiates from the analogue foundations, as rays of light are emitted into the surrounding vast skies ahead. The pristine production and intricate arrangements of Lerner’s drums, the infectious guitar lines and Meluch’s distinctive voice forms an organic, cohesive whole of stunning beauty. Vocal duties are crossed over on ‘Half Light’, another heartfelt pop gem, packed with a seamless array of lush sonic wizardry. ‘Selah’ is a towering ambient pop instrumental cut which develops over beautifully restrained, clean guitar tones, recalling the crystalline electronic output of City Centre Offices, Morr Music and beyond.

The second half of ‘Yearling’ contain more majestic master-works, not least the hazy torch-lit ballad ‘Capillaries’ with drifting piano notes, warm guitar tones mixed with Meluch’s heartfelt lyrics, drenched in reverb and analog loveliness. An immediacy prevails on the following track, ‘An Absolute’, where glistening electric guitar passages and brooding harmonies are placed in the forefront of the mix. The album’s penultimate track, the meditative ‘Filament’ fades in slowly, constructed from an ethereal harmony sung by Meluch (reminiscent of Benoît Pioulard and indeed Kranky label-mate, Grouper). Album closer ‘Tell’ completes ‘Yearling’s illuminating journey of sublime ambient soundscapes, which effortlessly breathes vital life and meaning into the hearts of each and every fortunate recipient. The essence of Orcas is indeed, infinite stillness, sculpted by the gifted minds of its ever-evolving members.

————

‘Yearling’ by Orcas is available now on Morr Music.

https://www.facebook.com/weareorcas
https://www.morrmusic.com

————

Interview with Rafael Anton Irisarri (Orcas/The Sight Below) and Thomas Meluch (Orcas/Benoît Pioulard).

Congratulations on the latest Orcas album ‘Yearling’, a gorgeous and beguiling collection of dream-pop creations. Please take me back to the summer of 2012, during your stay in Germany where the seeds of the new record were sewn. I was very interested to read much of the album was constructed from short pieces Thomas Meluch had written. I would love to gain an insight into the collaborative process that developed those pieces into the fully formed hazy pop gems that comprises ‘Yearling’?

Rafael Anton Irisarri: Yep, that’s correct lots of it was written while staying in Berlin. Tom (Benoît Pioulard) moved away to England in December 2011, where he stayed for a year with his wife; while geographically separated we exchanged files and sketches throughout 2012. During summer 2012, we rented out a flat in Prenzlauer Berg, quite close to the Morr Music office actually. We toured for a bit around Europe that summer, and during the downtime, we’d always come back to Berlin. It was sort of our homebase. While in Germany, we started to work with Martyn Heyne (live member of Efterklang). He joined ORCAS playing piano and guitar live, and rehearsed with him at his Lichte Studio in Neuköln quite frequently. We clicked almost instantly, he is such an amazing person and talented musician, so as we wrapped up the touring, we stayed in touch and kept working together. Martyn recorded all his parts at his studio and would send me his files online, then I would add to the mix, send back, and so on. Over the course of the year we built on and revised those tracks into what you hear on the final record.

Thomas Meluch: Berlin was our home base, so to speak, through a period of five weeks during which we had only 7 or 8 shows booked in various cities… So there was a lot of downtime and I found myself returning to some lyric ideas and messing around on the guitar when I would have otherwise been idle or passively watching football championships. “An Absolute” appeared in a completely different version on a limited lathe-cut thing I made in 2010 or 2011, and I’d always liked the melody of that one, so I added a couple of verses and let it sit for a while. Most of the others were little kernels of ideas that didn’t really have lives at all until I returned to the states in early 2013 after spending the previous year in the UK – but having moved back to Seattle rather than Portland I’m now about a 30 minute walk from Rafael’s place and it’s much easier to work together on short notice when we both have time and energy for Orcas stuff. Once we really began the recording process in earnest, there was a good balance of pre-existing ideas and some amount of improvisation; for example “Selah” (which, I admit, is my favourite song on the album) was 90% finished after one day of work… Rafael had been experimenting with a new analog synth patch while I was on the other side of the room with a guitar, and it all fell together quite naturally by my recollection.

————

The duo of yourself and Tom emits such a captivating sound, embedded in analog warmth and ethereal ambient pop soundscapes. As a listener, you really feel the aspects of each of your highly accomplished projects — Benoît Pioulard and The Sight Below — effortlessly flow into Orcas’ interwoven tapestry, but something entirely new and unknown is equally formed. Please discuss the creative process between you and Tom? I would love to learn how you first crossed paths with one another.

RAI: Back in 2009, I was co-curating a music festival here in Seattle. I invited Tom to play as Benoît Pioulard and shortly after we became friends. Tom started to come up to Seattle (he used to live in Portland) quite regularly and stayed in my house, where we would just improvise in my studio and play with different instruments and sounds. This is how the first ORCAS album came about, out of studio improvisation. As we developed our sound further, meaning by this, we originally had no concrete plans (it was more like two kindred spirits making some drone music), we started to incorporate more pop elements and shape those improvisations into songs. After working together for some time, we now know each others’ virtues and limitations, so we tend to be more focused and work more effectively. On this new album we explored some textural and drone elements – I think those are always going to be part of our sound, but at the same time, we played around and made pop music, albeit quirky pop – unconventional songs structures, disparate elements and sounds converging.

TM: I usually boil it down by saying, “I write the words and the beginnings of chord structures, and Rafael makes the rest what it is.” He has such a great intuition and is a very good director when I’ve got something in mind; he knows very well how to make a given vocal line or guitar line or piano sketch fit into whatever we’re working on, and we both respect each other so I don’t get offended when he tells me I’m fucking up or that something just isn’t going to work. There were also five or six versions of certain songs on the album – for example, “Half Light” was originally a borderline dance-pop song – so each piece is a sort of journey without an endpoint, until one appears to us.

————

This time around, you are joined by Martyn Heyne (of Efterklang) on guitar and piano, and Michael Lerner (Telekinesis) on drums further heightening to the expansive and sprawling sound. I would love to gain an insight into working as a quartet this time around, was it a case of all four members being present for the duration of the recording sessions? I can imagine Martyn’s Lichte Studio must have been a wonderful place to capture the spark of these special songs? How long did the recording sessions take?

RAI: No, unfortunately we were never on the same room at the same time. In fact, it’s quite amazing Michael and Martyn have never met. Somehow, through music, they got to “know” each other and communicate in a way that feels as if they’ve been friends forever. I find this quite beautiful – music truly transcends time and place. We did things quite backwards out of necessity – we tracked Michael’s drums on top of Martyn’s parts, as opposed to the traditional way of laying down drum tracks first and then everyone play on top.
That said, both of their studios (Martyn’s & Michael’s) are absolutely amazing, awe-inspiring places. Overall I had a great time making this record and working with both. I can only hope we get to play these songs live as a quartet, as I love those guys and will be so lovely to spend some time traveling with them.

TM: Michael and Martyn are both totally humbling in their level of skill – they’re technically trained (which I’m not) but also incredibly intuitive players… Rafael likes to joke about the fact that we sometimes make Martyn play a 3- or 4-note piano part when we know he could rattle off some Bach or Beethoven flawlessly off the top of his head. Neither of them worked with us in the studio, but Raf did go out to West Seattle to record drums in Michael’s home studio, in-person. Martyn’s parts were recorded remotely in Berlin and shuttled around on Dropbox, as you do these days.

————

‘An Absolute’ is my current favourite. I love how Tom’s alluring voice breathes such emotion into the song’s trajectory. The layers of piano, guitar and drums blend together so effortlessly that forms the perfect backdrop to such a beautiful lament. Can you talk me through the construction of this song please?

RAI: Thank you. I like this one very much too. This song was one Tom wrote back in Berlin. When he returned to Seattle, I did the initial arrangement in my studio and demo it. I sent the demo to Martyn and he learned the acoustic guitar parts, plus added piano to it. The most amazing part for me is the vocals – the one you hear is the original takes from the demo. I thought it was a great take, so I never re-tracked it. Same with the bass parts – Tom actually tracked that at like 8 am in the morning in my studio, almost half-awake. The “morricone” guitar riff is my favorite element. I recorded Tom playing it on my precious Guild Starfire III — it’s got a huge bigsby vibrato tailpiece. As he was playing it, I kept pressing it at certain parts, thus making the arrangement extra spaghetti-westernish. There’s also a hidden layer of guitar I played thru my tape echo – a melodic Telecaster line that only comes up on certain parts – you can hear me hitting the space echo hard though. The “organ” I constructed in Max For Live from a micro-cassette sample Tom brought in. I used those “chord hit” of 80’s Mexican soap-operas as an inspiration for it, and built a very tense layer. Afterwards, we’ve affectionately refer to this instrument as “mexican soap.” I always come up with very silly names for all my patches and instruments – it’s easier to remember for me.

TM: Like I said before, I wrote a 90-second version of that song with acoustic guitar and voice a few years ago, and felt a different version would be something to pursue for this project… In beginning the second version I slowed the tempo, switched from strumming to fingerpicking and added a few more lines to the vocal part. After that, Raf and I sketched it out, recorded the basic elements and Martyn filled in all the gaps – it was one of the easier songs on the album, in terms of arrangement and execution, though I know Raf agonized over the mix for months, as he’s prone to doing.

————

Were there certain avenues you all wanted to explore on ‘Yearling’ from the outset, Rafael? It’s a lovely progression on from the equally majestic self-titled debut full-length as you continue to explore new sonic terrain.

RAI: Yeah, I’m a sucker for great pop music (Talk Talk, Kate Bush, Tears For Fears), and this album became my creative outlet for those sensibilities to come out. Having access to Tom’s unique voice is a blessing. I can’t sing to save my own life, so it’s nice to work with someone who can and also is such an amazing songwriter when it comes to lyrics. Working with people like Martyn & Michael really inspired me a lot too. It really challenged me to be a better producer and be at their musical level. I finally got to use every piece of equipment in my studio, something I haven’t really done on my own solo releases, as the production tends to very focused on one particular sound. If anything, I learned a lot making this record, something in the end I appreciate the most: learning and growing.

TM: Not really; one of the loveliest things about this project for me is that I never know what to expect, and as I mentioned we have a good amount of mutual respect that makes working together pretty harmonious most of the time. Some days we’ll go into the studio with a defined idea of what needs to be done, and others will find us improvising around the littlest ghost of inspiration. “Tell”, for example, is an extensively manipulated tape recording of a guitar loop piece I made in June or July of last year, which Raf turned into something much greater than I could have done on my own.

————

Will there be a European tour for Orcas planned for 2014?

TM: We’re not sure yet; we’ve talked about it but can’t say with any certainty… I’d definitely love to make it happen but Raf is much more perfectionistic about live stuff than I am and a lot of details would have to be set in order for it to happen, not to mention the logistics of rehearsal with a third member who’s halfway around the world.

————

Since the last time we spoke, your incredible (and latest Benoît Pioulard full-length) ‘Hymnal’ album was released in a special new edition with many fascinating remixes of the original songs. Can you talk me through those remixes please and what it must feel to listen to other people’s interpretations of your own songs? It must have been a special project to be part of, particularly when new perspectives are given to your artistic works. 

TM: That was totally the idea of my friend and colleague Ryan at Lost Tribe Sound… He’s been wanting to work together for a long while and when he conceived of the remix album idea it was pretty perfect timing, and as well he knows a lot of musicians that I admire and was able to curry enough favour with them to make it happen. The Remote Viewer, for example, has been one of my favorite groups for 10 or so years, so getting a remix from them was truly a thrill… As for the rest, I am totally amazed at the directions that people took with the source material, and as someone who’s never been a huge fan of remix albums, I’m surprised and pleased at how well this one hangs together.

————

Any current reading/listening/film recommendations, Tom? 

TM: My favourite film of last year was the documentary “Leviathan”, which I’ve now watched at least three times. So beautiful and so profoundly simple. Music-wise, I remain totally obsessed with my friend Kyle Bobby Dunn, whose new triple LP is his best yet – and I feel that’s saying something. I am happy to say that he & I also just finished an album together after 18 months of file exchanges; I can’t say much more than that about it at the moment, though.

————

‘Yearling’ by Orcas is available now on Morr Music.

https://www.facebook.com/weareorcas
https://www.morrmusic.com

————

Written by admin

July 1, 2014 at 10:47 am

Mixtape: Infinite Stillness [A Fractured Air Mix]

leave a comment »

infinitestillness_sleeve

Infinite Stillness [A Fractured Air Mix]

To listen on Soundcloud:

https://soundcloud.com/fractured_air/sets/infinitestillness

————

01. FaltyDL ‘The Love I Need’ (Vinyl Bonus) [Ninja Tune]
02. Charizma & Peanut Butter Wolf ‘Devotion (’92)’ [Stones Throw]
03. Madlib ‘Cue 06’ [Stones Throw]
04. Lee Fields & The Expressions ‘Just Can’t Win’ [Truth & Soul]
05. Edna Gallmon Cooke ‘At The Gate’ [Tompkins Square]
06. Ela Stiles ‘Kumbh Mela’ [Bedroom Suck/Fire]
07. Steve Gunn & Mike Cooper ‘Saudade Do Santos-o-Vehlo’ [RVNG Intl]
08. Cass McCombs ‘There Can Be Only One’ [Domino]
09. The Skygreen Leopards ‘Leave The Family’ [Woodsit]
10. Orcas ‘Infinite Stillness’ [Morr Music]
11. Fennesz ‘Static Kings’ [Editions Mego]
12. Heldon ‘In Wake Of King Fripp (Excerpt)’ [Superior Viaduct]
13. Charcoal Owls ft. Rose Keeler ‘Grace Period’ [NightSchool]
14. Boardwalk ‘I’m To Blame’ (Julia Holter Remix) [Stones Throw/Soundcloud]
15. Julia Holter ‘Hello Stranger’ (Live Recording) [NNA Tapes]
16. K. Leimer ‘Gisella’ [RVNG Intl]
17. Erik K Skodvin ‘Shining, Burning’ [Sonic Pieces]
18. Klara Lewis ‘Shine’ [Editions Mego]
19. Roll The Dice ‘Wherever I Go, Darkness Follows’ [Leaf Label]

————

The copyright in these recordings is the property of the individual artists and/or their respective record labels. If you like the music, please support the artist by buying their records.

————

Fractured Air. The universe is making music all the time.

Mixcloud / Soundcloud

————

 

Ten Mile Stereo

leave a comment »

10_web


A Winged Victory For The Sullen ‘ATOMOS VII’ (Erased Tapes/Kranky)
This April marks the hugely anticipated return of the impeccable duo of A Winged Victory For The Sullen as a co-release between London-based independent label Erased Tapes and the Chicago-based Kranky label. Comprising the majestic talents of the duo Adam Bryanbaum Wiltzie (Stars Of The Lid) and pianist Dustin O’Halloran, ‘ATOMOS VII’ is bound to capture — just like it’s glorious self-titled predecessor — the imagination of every single music listener lucky enough to cross paths with it. As O’Halloran has stated: “We never imagined 2013 would be such an explosively creative year. The first record took us two years from start to finish, but in the micro span of time over last summer we were able to change the formula for the way we write, record, and let go. It was incredibly liberating.”

‘ATOMOS VII’ is available on 28 April via Erased Tapes/Kranky.

————


Christina Vantzou ‘No.2’ (Kranky)
Kansas-born artist, film-maker, musician and composer, Christina Vantzou returns this year with the spellbinding ‘No.2’, and follow-up to her equally gorgeous debut ‘No.1’, released at the beginning of 2012 on the Chicago-based label Kranky. Made over a four-year period, ‘No.2’ sees Vantzou re-unite with Stars Of The Lid and Winged Victory For The Sullen’s Adam Bryanbaum Wiltzie and the internationally renowned arranger Minna Choi of the San Francisco based Magik*Magik Orchestra. ‘No.2’ also features the addition of further instrumentation (previously not heard on it’s predecessor) with the use of bassoon, oboe, and an enhanced string section augmenting Vantzou’s timeless and dreamlike floating worlds.

‘No.2’ is available now on Kranky.

————


Sharon Van Etten ‘Are We There’ (Jagjaguwar)
Available 27 May on Jajjaguwar, ‘Are We There’ is Brooklyn-based songwriter Sharon Van Etten’s follow-up to her monumental ‘Tramp’ LP from 2012. Thus far, ‘Taking Chances’ has been made available online, revealing a less stark and cleaner sound, yet remaining as utterly captivating and wholly engaging as always. Check out Van Etten’s official website HERE for some wonderful pre-order bundles, including clear vinyls, limited edition 7″, and signed prints of photographic cover art by Van Etten.

‘Are We There’ is available on 27 May via Jagjaguwar.

————


Hauschka ‘Abandoned City’ (City Slang)
The impeccable talents of German composer Volker Bertelmann has been widely evident for many years now via Bertelmann’s Hauschka guise. Using the prepared piano as his starting point (Bertelmann positions pieces of foil or paper on the strings of his grand upright piano to create new sounds), Bertelmann has been wowing audiences far and wide over the last decade or so. ‘Abandoned City’ is Hauschka’s latest full-length, available via Berlin-based independent label City Slang (Calexico, Lambchop, The Notwist) and was recorded at his home studio over the course of ten days following the birth of his first son. Talking about the album’s title, Bertelmann has said: “I was interested in finding a metaphor for the inner tension I feel when I’m composing music, a state of mind where I’m lonely and happy at the same time.”

‘Abandoned City’ is available now on City Slang.

————


ORCAS ‘Yearling’ (Morr Music)
ORCAS comprise the duo of Thomas Meluch (Benoît Pioulard) and Rafael Anton Irisarri (The Sight Below), who release ‘Yearling’, their hugely anticipated follow-up to their Morr Music 2012 debut ‘Carrion’. For it’s wonderful follow-up, ‘Yearling’, Meluch and Irisarri are joined by Martyn Heyne (of Efterklang) on guitar and piano, and Michael Lerner (Telekinesis) revealing a gorgeous sonic tapestry and an infinite array of emotions throughout, amounting to another pristine, understated sonic gem.

‘Yearling’ is out April 4th in Europe and April 15th in the US on Morr Music.

————


The Delines ‘Colfax’ (Decor / El Cortez)
Led by Richmond Fontaine’s principle songwriter, the novelist Willy Vlautin, The Delines are the newly-formed group featuring Vlautin alongside his Fontaine drummer Sean Oldham, Amy Boone (The Damnations), Jenny Conlee (The Decemberists), Tucker Jackson and Freddy Trujillo. Thus far, the single ‘I Won’t Slip Up’ has been revealed, featuring the stunning vocals of The Damnations’ Amy Boone, the gorgeously soulful and late-night feel echoes Richmond Fontaine’s ‘We Used to Think the Freeway Sounded Like a River’ while the heartfelt lyrics (“I get so tired of people / Always worrying about me”) are typical Vlautin; imperfect and true and straight from the heart. The Delines will have a new 7″ single out on record store day called “The Oil Rigs At Night” which features two tracks not on the forthcoming album. The Delines will tour the UK and Ireland this June (tour dates HERE).

‘Colfax’ will be available on Decor on 01 May 2014.

————


Lavender Country ‘Lavender Country’ (Paradise Of Bachelors)
This year North Carolina-based label Paradise Of Bachelors re-release Patrick Haggerty’s hugely affecting landmark 1973 self-titled LP by Lavender Country. As Paradise Of Bachelors say: “Widely recognized as the first openly gay country music album—and cited as such even by Nashville institutions like the Country Music Hall of Fame and CMT—the landmark self-titled 1973 LP by Lavender Country stands as nothing less than an artifact of courage, a sonic political protest document of enormous power, clarity, and grace. The record reflects Haggerty’s experiences: his upbringing on a tenant dairy farm in rural Washington, on the Canadian border; his dismissal from the Peace Corps on the spurious grounds of his sexuality; and his righteous struggles as an outraged young gay man navigating the Pacific Northwest in the immediate aftermath of Stonewall.”

‘Lavender Country’ is available on 25 March via Paradise Of Bachelors.

————


Cate Le Bon ‘Mug Museum’ (Turnstile)
Cate Le Bon is an artist hailing from Carmarthenshire, rural West Wales and is currently a resident of Highland Park, Los Angeles, having relocated across the pacific to record her latest album ‘Mug Museum’. Her first album ‘Me Oh My’ was released on Gruff Rhys’s Irony Bored label in 2009 and was followed by ‘CYRK’ (OVNI/Turnstile) which was released to widespread acclaim in 2012 and saw her play live across the world. A frequent collaborator, Cate Le Bon has added vocals to the likes of Neon Neon and Manic Street Preachers in recent times, while Perfume Genius contributes vocals on ‘I Think I Knew’.

‘Mug Museum’ is available now on Turnstile.

————


Valentin Stip ‘Sigh’ (Other People)
Montreal’s Valentin Stip has quietly released one of the finest electronic albums of the year thus far in the form of ‘Sigh’, available now on Nicolas Jaar’s Other People label. Valentin Stip’s story thus far is best surmised by Stip’s Soundcloud profile:
“My name is Val, I was born in Paris. I started playing piano when I was seven. Missing my piano too much in Montreal, I started playing around with the musical abilities of my computer and have been making electronic music since then…”

‘Sigh’ is available now on Other People.

————


Woods ‘With Light And With Love’ (Woodsit)
Brooklyn’s beloved folk collective Woods have been amassing a wonderfully enduring and timeless body of music since the band’s formation in 2005. Albums such as ‘Sun And Shade’ and ‘Bend Beyond’ have introduced the band to new waves of fans and admirers over the years, enchanted by the band’s “DIY” ethos, impeccable musicianship and an innate appreciation for melody. As Wooden Wand’s James Jackson Toth has said: “With Light And With Love is an album of deeply psychedelic, deeply satisfying songs for a new age of searchers, of Don Juan and Animal Chin alike.”

‘With Light And With Love’ is out April 15th on Woodsist Records.

————