GUADALUPE PLATA - 'THREE DEMONS'

Formats

• EVGLP125 - LP

  8426946112522

• EVGCD125 - CD

  8426946112515

Details

SHIPPING 3RD MAY "Guadalupe Plata" (2018/19) is, in the group’s own words, “a new attempt to go further and beyond, in our crusade for regression and the idea of creating our own personal “Gris Gris”” - the record that dominated the tour van on their last tour of the UK. “Our idea was to get closer to the ceremonial, the sacred and the ritual sounds of our country from one end to the other, the different folk musics, the music that is made in backyards with whatever instruments come to hand, or to accompany the various ritual “fiestas” that take place all over Spain” - some deriving from or referring to Catholic rite, many clearly pre-christian, or unchristian. “So we chose to delve into the sound of the wash tub as the main bass sound, a drum amplified by the minimum number of mics so that it would sound as natural as possible and an electric guitar plugged directly into an amplifier, no intermediaries that would disturb the peace in the monastery. We dared to add some new instruments to the mix in some songs, such as a bottle of anise, a beat-up bandurria and some sounds made by old doors, in order to add a little bit of flavour of deep Spain”. All these rustic elements, an old harmony guitar, stinking of incense, bottles of anise, the omnipresent bass wash tub, the spectral sounding drums, are in stark contrast with the huge plasma screen tv where they plugged the Nintendo Switch during the recording recesses. The record was written, recorded and mixed through 3 weeks and a half between April and July of 2018 in La Mina (Sevilla), unusually for Guadalupe Plata. Compared with the previous 4 albums, which just required 3 or 4 recording days, this new album took weeks. Mostly because it was written there, on the hoof, getting carried along in the moment. But also, the possibility of adding sounds, as the grinding doors, made the recording longer than expected. I remember, during the third week of recording, calling Mark Kitcatt, chief of Everlasting Records, to tell him that everything was going great but that we needed a couple of extra days. He asked “if we thought we were My Bloody Valentine”. I didn’t quite understand but I laughed nervously. Just as well, on the 25th of July I got a text from the producer, Raúl Pérez, saying: “I’ve neutered the last 10 arrangements Perico (guitars, voice) wanted to add. we just finished the album”. The final result is 12 songs where you can find the classic Guadalupe Plata sound but also their immersion into other wastelands such as corraleras, clueca, waltz and secret rhythms. there are also two remarkable homages: one to their patron saint, Screamin' Jay Hawkins ("Oigo Voces"), and the other to an old friend from Úbeda, "Corral", to whom at last they fulfill their promise of dedicating a song with the lyrics he suggested: “Corral, corral, why do you scare girls? Don’t know, don’t know”. If we were to compare this new record with their previous album, at first sight, we could find a couple of common denominators: again, we recorded it at La Mina studios, even though we warned Raúl that we never record twice in the same studio; we ended up nostalgic for his swimming pool and the Cuban food served at the cantina where the studio is placed. Also, we returned to our connection with Chile, through Sebas Orellana from La Big Rabia leading an immersion into his country’s folklore in “Lo mataron”, adaptation of a traditional song (“El afuerino”), that Roberto Parra (1921-1995, Violeta Parra’s brother) made popular. The cover, made by Paloma Almagro and Pedro De Dios, is an acrylic painting whose style is inspired in Mexican votive offerings (“ofrendas votivas”). In it, the band recall a visit to the “Pantano del Tranco”, the Tranco Swamp, in Jaén, to eat, celebrate the end of the recording and mastering sessions, and pass the afternoon of September the 12th with some friends, and the decisive help given by the patron Saint of Úbeda, the virgin Guadalupe, in preventing the theft of their instruments by some demons while the members of the band were out in the middle of the swamp, on a pedal boat excursion (the video accompanying the first single “Corraleras de veneno”, by the Mexican design studio Pneuma, goes deeper into this remarkable event).

Tracks

Press

Riyl: Hound Dog Taylor, Skip James, John Lee Hooker, Screamin Jay Hawkins, Jon Spencer, The Fall, Captain Beefheart and Nick Cave.

Audio & Video

VERSING - '10000'

Formats

• HAR112 - LP

  098787311211

• HARCD112 - CD

  098787311228

• HARCS112 - MC

  098787311242

Details

Like many important bands, Seattle quartet Versing got their start in college radio—Tacoma's KUPS. The group's main songwriter/guitarist/vocalist Daniel Salas served as alternative music director there, where he met guitarist Graham Baker, drummer Max Keyes, and bassist Kirby Lochner. Now Versing are poised to spread their coolly combustible brand of rock on those said airwaves...and beyond if the world knows what's good for it. Baker, Keyes, Lochner, and Salas have risen through Seattle's competitive rock ecosphere with nonchalant élan. They cheekily titled a previous album Nirvana, but never mind the bleach: Versing isn't emulating Sub Pop's most famous artist. Rather, these four twentysomething aesthetes are forging an exciting sound that finds a golden mean between lustrous noise and ebullient melody. With Versing, songwriting is obviously crucial, but much of the pleasure in 10000 comes from its guitar textures. They're swarming, yet also spiky and agile. Gently chiding the Seattle music scene's self-seriousness while acknowledging Versing's playfulness and irony, Salas says, “There's a 'let's just fuck around and see what comes out,' aspect of what we do, which I think is uncommon for Seattle bands.” Versing's freewheeling attitude has paradoxically resulted in 10000, an engrossing album that's impossible to feel ambivalent about.

Tracks

Entryism
Offering
Tethered
Violeta
By Design
Vestibule
In Mind
Long Chord
3D
Sated
Survivalist
Loving Myself
Renew

Press

Audio & Video

GUIDED BY VOICES - 'WARP AND WOOF'

Formats

• GBVI91CD - CD

  647603404127

• GBVI91 - LP

  647603404110

Details

*VINYL REPRESS ALERT*Following Guided By Voice’s sprawling double-album Zeppelin Over China, Robert Pollard has written and recorded another fulllength in record-breaking time. It’s Warp And Woof, exuberantly barreling through twenty-four songs in just thirty-seven minutes with a brevity similar to mid-90s GBV albums Alien Lanes and Vampire On Titus. GBV kicked this one out in a flash, recorded in studios, club soundchecks, hotel rooms and even in the tour van. After completing Zeppelin, Pollard felt the itch to record a few EPs. Just as GBV had done back in 1994, he would use them to channel his everflowing ideas to an outlet. But when a magical boombox writing session produced six fully formed songs in under half an hour, Pollard realized he had an album on his hands. What to do? With a band so formidable they’ve been dubbed the Golden Age of GBV, they completed much of the recording on the road. The 2018 Space Gun Tour provided impromptu recording venues. Pollard recorded vocals in hotel rooms, complimentary condominiums, and small studios. Doug Gillard cut guitar tracks for “End It With Light” through his Mesa Boogie rig at the soundcheck at the Ottobar in Baltimore. Bobby Bare Jr. recorded his spacey main rhythm guitars for album closer, “Time Remains in Central Position” at the same show, but in the backstage green room. Kevin March added drum tracks in a studio in his hometown Montclair, New Jersey. Gillard played guitar on “Bury the Mouse” in a van hurtling at 60-plus m.p.h., and Mark Shue laid bass on “Angelic Weirdness” as he balanced on the speeding van’s bench seat…. Two London shows in early June, their first in years and years, sold out in a matter of days and hours… GBV is still prime time!!

Tracks

TRACK LISTING 1. Bury The Mouse 2. Angelic Weirdness 3. Foreign Deputies 4. Dead Liquor Store 5. Mumbling Amens 6. Cohesive Scoops 7. Photo Range Within 8. My Dog Surprise 9. Tiny Apes 10. Blue Jay House 11. Down The Island 12. Thimble Society 13. My Angel 14. More Reduction Linda 15. Cool Jewels And Aprons 16. Even Next 17. It Will Never Be Simple 18. The Stars Behind Us 19. Skull Arrow 20. Out Of The Blue Race 21. Coming Back From Now On 22. The Pipers, The Vipers, The Snakes! 23. Time Remains In Central Position 24. End It With Light

Press

Audio & Video

THEE SPEAKING CANARIES - 'WHO ARE THE SHITBIRDS PLAYING?'

Formats

• CHK024 - LP

  647603404684

Details

RELEASE DATE: 3RD MAY Damon Che is nothing short of a creative polymath. Don Caballero shows his mastery at the drums, but Thee Speaking Canaries? Well, it’s anybody’s guess, but his guitar histrionics show a musician who is practically bursting at the seams with crazed ideas and sounds. About two years ago, Che sent Chunklet a box of DAT tapes. His instructions? Find something that hadn’t been released. And well boy howdy, Chunklet found quite a bit. Almost an hour worth of material. All unreleased. All incredible. All the Canaries. Some was recorded with Al Sutton in 1995. Some in the early aughts. Some others recorded by Che himself. All a mash up. To those who remember the “other” Canaries album that Chunklet released (Platter Base Must Be Constructed Of Moon Rock to those keeping notes of such things), consider this album a companion piece. Instrumental. No vocals. Totally bonkers playing.

Tracks

TRACK LISTING 1. Oh ?Those? Bridges 2. Stop The Snubbing 3. Apologies to Ben Carlos 4. Casey?s Mohican?s (Best Band Ever) 5. It Takes A Lot of Energy To Die 6. Some Bargain 7. The Troll Song Help 8. Summer Band 9. City Tonight 10. Untrustworthy Tracks Flagship Location 11. Perceived Solid Gold 12. Sound Suffering 13. Know By When 14. Allegheny County

Press

Collection of unreleased material from indie rock group fronted by Damon Che (drummer in Don Caballero) ? For fans of Crystallized Movements, Major Stars, Van Halen ? Hand assembled, tip-on sleeve ? Edition of 200

Audio & Video

PATIENCE - 'DIZZY SPELLS'

Formats

• LSSN065CD - CD

  5060446123478

• LSSN065 - LP

  5060446123461

Details

Patience began as bedroom synth project for songwriter Roxanne Clifford after the break up of her acclaimed indie pop band Veronica Falls. Born out of a desire to experiment with a new sound and analogue synthesizers, the project has since grown to become an all-encompassing persona and serves as the main vehicle for the full emotional spectrum always latent in Clifford’s songwriting. From her first long-sold-out 7” singles on Night School, her knack for melodic hooks and oblique emotional stances already contained a glistening sheen of promise. ‘Dizzy Spells’ serves as an intimate portrait of Clifford’s creative adventure, almost diaristic, conceived and recorded in her home studio, as well as with collaborators Todd Edwards (Daft Punk/Uk Garage fame), Lewis Cook (Free Love/Happy Meals) and engineer Misha Hering (Virginia Wing). Dizzy Spells delivers a debut album that twists Clifford’s songwriting into new shapes and ecstasies. The album dances around melancholy, thrown to the floor like a bad dream to be circled, emerging bright-eyed into the early morning full of hope. The Girls Are Chewing Gum (produced by Todd Edwards) bursts open Dizzy Spells like fresh fruit: sweet and rich with a synth-bass line beamed down from Chicago House heaven. Exquisitely sung by Clifford, it’s a wonderful, funky, instant-classic hinting at sexuality and memories dredged from our bodies’ secrets. The bouncy production expertly renders the addictive power of our ephemeral pleasures. Living Things Don’t Last chases themes of longing and loss, opening up into a life affirming chorus that sings of transience, the passing of time and railing against inertia. It’s the perfect example of a song formula that Roxanne Clifford has almost patented: simple and cutting straight to the point. There are shades of Strawberry Switchblade or French synth pop pioneer Jacno in the happy/sad dichotomy and it is all the better for it. Dizzy Spells features all three long-sold out singles, embedded in the full depth of Patience’s soundworld they fit like pieces of a puzzle. White Of An Eye, The Church and The Pressure—all recorded in Clifford’s former home of Glasgow—crackle with razor sharp melodies and dancefloor-ready dynamics. There are exciting additions to Patience’s sonic palette, brought into sharp relief on Voices In The Sand. In this song, a plaintive Clifford enunciates a heart-torn plea to the antagonist, a mournful cascade of synths and haunting vocals evocative of AC Marias, a sepia-toned ode to anxiety, “a storm is on the way”. On No Roses, a Vince Clarkesque production belies a sunburnt sadness. Clifford defiantly sings “you would go out tonight, but there’s nowhere you like,” describing a disenchantment with her adopted city of Los Angeles, she longs for home in a singular refrain “No roses… no roses for us.” An ode to English folk singer Shirley Collins, a surprising yet innate influence throughout Clifford’s work. On Moral Damage, former Veronica Falls bandmate Marion Herbain joins Clifford on an anglo-french duet that feels instant and spontaneous, a cutting comment on emotional accountability. More than a vehicle for Roxanne Clifford’s songwriting prowess, Patience is holding our hand through the night, dancing with tears in our eyes, dizzy and spellbound.

Tracks

1. The Girls Are Chewing Gum
2. Living Things Don?t Last
3. White Of An Eye
4. No Roses
5. Aerosol
6. The Church
7. Voices In The Sand
8. Moral Damage
9. The Pressure
10. Silent House

Press

Produced by Todd Edwards (Daft Punk) Lewis Cook (Happy Meals)

Audio & Video

QASIM NAQVI - 'TEENAGES'

Formats

• ERATP118CD - CD

  4050486115695

• ERATP118LP - LP

  4050486115688

Details

Pakistani-American composer Qasim Naqvi will release his debut album for Erased Tapes on May 3rd. 'Teenages’ captures the sound of electronics living, breathing and mutating of their own accord – almost autonomously – with only subtle, sparing but perfectly-judged and masterful guidance. This album is one singular synergy between Qasim and his machine within a broader milieu of sound, also explored by contemporaries Sarah Davachi, Alessandro Cortini, Caterina Barbieri and also the forefather, Morton Subotnick. At points tonal, textural and rhythmic, over six evolving and growing audio organisms, the album flourishes upwards in stages, from initial micro-sonics to something bigger, brighter and anthemic. This is Naqvi’s first non-soundtrack release, having previously established himself as a renowned composer for dance, theatre, film and installation-based art, not to mention his role as drummer in lauded trio Dawn of Midi. According to Naqvi, “my past releases like ‘Chronology’, ‘Preamble’, ‘Fjoloy’ and ‘Film’ were made to accompany visual mediums. The music was always written to enhance another form. ‘Teenages’ is the first album with its own motivating force. It’s a live multi movement work that I recorded for myself.” With ‘Teenages’, Naqvi summoned all the material on an analog modular synthesizer – a voltage-controlled sound generating system comprised of multiple modules. Naqvi built this synth over the course of two years and amassed a collection of works for this album. “I’ve always been drawn to the power of un-amplified acoustic music. And for me modular synthesizers are a natural progression forward from the acoustic realm into the electric. It feels like an orchestra comprised of very unusual instruments, and their orchestration and vibrational properties lie in the patching and flow of voltages through a system. They’re also unstable and they rarely play the same thing twice in any exact way. It’s almost organic and human. It was really important for this album to capture that kind of uninterrupted behavior.” Capturing a live feeling without the aid of heavy studio production was an important component to this release: “Even though this is ‘electronic music,’ I didn’t want to rely heavily on a computer with an array of plugins, loops and samples, or exhaustive editing as part of the writing process. I wanted to treat this work like a live piece of music and have the natural behavior of the machine shine through and sound huge, like an orchestra of electrical signals.” Gently stuttering like a time lapse-video of a seed sprouting up from the earth, ‘Intermission’ sets the scene, before musical motifs begin to emerge on the dancing, bubbling bassline of ‘Mrs 2E’, which possesses a playful, infantile quality, like a newborn animal learning to walk after birth. More bouncy, skewed bottom-line squelch appears on the jittery, buzzing ‘Palace Workers’, which seems to evoke life in the form of amplified insect or bat noises, with a melody that eventually unfolds into something akin to a fractal rendition of ‘Oxygene’. By ‘No Tongue’ more traditionally identifiable musical signifiers begin to emerge, with a bright and melodic synth line evoking the new blooms of spring, whereas ‘Artilect’ takes a more ominous drone tone, insinuating the dark, potential threat of artificially augmented biological intelligence. Like a coming-of-age, the album culminates on title track ‘Teenages’ – a dynamic, technicolour symphony that was recorded in one take, with no overdubs or edits. In the year leading up to ‘Teenages’, Naqvi created a series of shorter works. These stepping-stones eventually became the first 5 tracks of the album and were part of a larger process, leading to the realization of the title track. “I wanted to show the stages of development that lead to the main act. All of these tracks share the same D.N.A., even though they seem distantly related.” Explains Naqvi. The pieces heard prior to ‘Teenages’ chronicle both Naqvi’s understanding of writing for this type of instrument and the growth of the instrument itself: “I started with just a few modules. And naturally things had to be layered and pieced together but as the synthesizer and its components grew over time, I was able to create broader and more complex strokes in the moment. And by the time I got to ‘Teenages’, it was possible to create a robust, large-scale piece spontaneously. This is very much an experiential album for me because it was borne out of my direct experience of learning the instrument. And as the synthesizer grew over time with more components, it matured. At times I felt like it was even rebelling against my instructions or surprising me with what felt like its own choices. When everything was finished and I was thinking about track titles, this idea of artificial intelligence came into my head; a machine that reacts to your impulses and is capable of giving you something different from what you ask, and even defying you. It felt like different stages of growth and adolescence, and that lead to the album title, ‘Teenages’.” Deeply rewarding on close listening, Naqvi has created an inspiring and synapsestimulating new masterwork, within the analogue/modular cannon.

Tracks

1. Intermission
2. Mrs 2E
3. Palace Workers
4. No Tongue
5. Artilect
6. Teenages

Press

Premiere > https://www.residentadvisor.net/tracks/948348

Audio & Video

THE SIDE EYES - 'GET ME OUT / STOP!'

Formats

• ITR332 - 7"

Details

In The Red is proud to announce the release of two brand new tracks from Los Angeles hardcore sensations The Side Eyes. Produced by Steven McDonald (Redd Kross), “GetMe Out” and “Stop!” are two punk rock face-melters that both clock in at under two minutes. This band captures thespirit of classic SoCal punk like Black Flag, The Adolescents and The Bags and their live shows (whether at a DIY all ages warehouse or the Hollywood Palladium) are always guaranteed to be completely out of control mosh fests. This new seven inch captures their energy and aggression as good as anything could hope too.

Tracks

Press

Audio & Video