OBSERVERS - 'THE AGE OF THE MACHINE ENTITIES'

Formats

• OBSERVERS002LPRP - LP

  724022286548

• OBSERVERS002CD - CD

  724022286555

Details

**REPRESS ALERT BLACK VINYL VERY LIMITED COPIES** Introducing Observers “The Age of the Machine Entities” an instrumental heavy metal reimaginin of Stanley Kubrick and Arthur C Clarke's 2001 A Space Odyssey. Observers is a new project fronted by Martin Kennedy whose ambient rock band All India Radio has seen music used in CSI, One Tree Hill and many more. Canadian metal titan Devin Townsend even covered an All India Radio song that he fell in love with while on holiday. Kennedy has also released over fifteen albums with Steve Kilbey of psychedelic rock legends The Church. Kennedy says “I’ve been fascinated by 2001 A Space Odyssey ever since my mum took me to see it in the 1970s. It blew my mind. I started making my own 2001 inspired super 8 movies, I collected everything I could afford and I’m still obsessed with it into my adult years.” “The Age of the Machine Entities” is entirely instrumental and takes us on a cosmic journey through melodic metal, atmospheric riffs and psychedelic ambient sequences with echoes of Gojira, Black Sabbath and Tangerine Dream and the early 70’s work of Pink Floyd. Indeed treats us to a searing metal version of the obscure but fan favourite “The Narrow Way Part 2” from the Floyd’s Umma Gumma. The album was mixed by Joe Haley from Tasmania’s legendary Psycroptic and the line up is Rich Gray (Annihilator) on bass, Chris Bohm on drums, and guest soloists including Joe Haley and Jake Weber. The all important visual aspect is brought to life by Ryan T Hancock (known for work with King Buffalo, ᴀɢɴᴏxɪᴀ, Robot God), who created the mesmerizing album artwork. Observers' "The Era of Machine Entities" is a fusion of artistic brilliance that pays homage to the timeless mystery of "2001: A Space Odyssey.”

Tracks

Tracklist:
1. Into The Eye
2. Frank Poole's Dream
3. Frozen Lattices of Light
4. Strange and Beautiful
5. Pod Bay Doors
6. Moon Doom
7. Metaphor II
8. The Star Child
9. The Narrow Way Part II (Pink Floyd)

Press

Audio & Video

Y DAIL - 'TEIGR'

Formats

• CW001 - CD

  5063176023025

Details

Bi-lingual Welsh songwriter Y DAIL (aka Huw Griffiths) is delighted to announce that his debut album Teigr will be released on 5th April 2024, describing the record as “a collection of songs written in my bedroom between the ages of 16 and 19, high on lapsang souchong tea and jaffa cakes.” Y Dail (‘The Leaves’) is the musical project of 20-year-old Huw Griffiths from Pontypridd, south Wales. Starting in 2020, the band have released a string of singles which have received excellent reviews and single-of-the-week awards on music blogs and websites. Forthcoming debut album Teigr has been several years in the making, and is partly inspired by Griffiths’s love of 70s Welsh-language pop he remembers from school discos and his parents’ record collection. He also cites Gorky’s Zygotic Mynci, Joe Meek, Television and early Prefab Sprout as influences. With the album’s completion and release delayed by the inevitable pandemic story, 2021 saw the deceptively young Griffiths juggling finalising the record with studying for his A Levels, eventually putting the finishing touches to the record with producer Kris Jenkins (ex Super Furry Animals) at Grangetown Studios, Cardiff in the lull following. Since then, Marc Riley has championed the band on his BBC 6Music show, calling Griffiths’ songs “perfect pop”, and national treasure Gruff Rhys has called the band “magnificent”, with Y Dail previously performing a radio session for BBC 6music’s Huw Stephens, who has been a long term fan. Elsewhere, BBC Wales DJ Adam Walton has been a firm supporter, with Y Dail winning second place in Rhys Mwyn‘s Radio Cymru Alternative Chart 2021, and tipped by God Is In The TV Zine for their Sound of 2021. Their 2022 standalone single ‘Whizz Kids’ was released via much-loved Welsh language label Libertino Records (Adwaith, CHROMA, Sister Wives) and featured on Domino Records’ Sound System playlist. Previously performing live as a duo with his multi-instrumentalist younger sister Elen and now with his live band filled out into a quartet, Griffiths’ disarmingly mature, charming, and precise lofi pop wins fans wherever he goes, previously supporting Cardiff natives Papur Wal and appearing at the Swansea Fringe. This year, Y Dail will be playing at FA Wales Festival and Wales Goes Pop Festival, plus support slots alongside Blue Amber and Wakey Wakey Rise & Shine, with further new music and live dates revealed over the coming months.

Tracks

1. The Piper Pulled Down the Sky / 2. Dyma Kim Carsons / 3. O'n i'n Meddwl Bod Ti'n Mynd i Fod Yn Wahanol / 4. Silly Boy / 5. Clancy / 6. You Don't Have To Be Blue Forever / 7. Pedwar Weithiau Pump / 8. Whizz Kids / 9. Y Tywysog a'r Teigr / 10. My Baby's in the FBI / 11. Tennessee Skies (1956) / 12. Feel The Sun / 13. Tarth y Bore

Press

'Perfect pop reminds me of great Welsh bands like Gorky's and Racehorses'- Marc Riley.
'Magnificent'- Gruff Rhys, Super Furry Animals
'Timeless' - Huw Stephens

Audio & Video

DYLAN GOLDEN AYCOCK & JOSHUA MASSAD - 'TWO IMPROVISATIONS'

Formats

• SCTR65 - LP

  617513083194

Details

“The first full length LP by Joshua Massad and Dylan Aycock. Massad is a tabla player living in India and studying under Zakir Hussain. Massad and Aycock came together in Tulsa to record live at the legendary Church Studio which was founded by Leon Russell in the ’70s. Over a few nights they captured some moments in the studio before it came under new ownership and just before Joshua moved to India. “Aycock improvising on 12-string with Massad accompanying tabla and sitar. A flowing river of sound, a meeting of the minds. The little touches that Dylan’s brother Jesse Aycock adds (bits of synth) really sweeten the deal as well. Track two recorded in Leon Russell’s legendary Church Studio.” —Aquarium Drunkyard “Track one is an improvisation recorded at the home of Joshua Massad’s friend who he was house sitting for and invited me to come play. When I showed up the door was open and he was deep in practice so no words were spoken. I set up a mic and just started playing. We played for fortyfive minutes straight and the twenty mins of the first track was culled from that moment. We clicked immediately and that was the first time we ever played together. Joshua is studying and teaching in India now where he’s been since 2019.” —Dylan Golden Aycock

Tracks

1. One
2. Two

Press

Improvised, flowing river of sound in first
time collaboration between renowned
12-string player and table player trained by
Zakir Hussain

Audio & Video

PAPERCUTS - 'YOU CAN HAVE WHAT YOU WANT'

Formats

• PANAM01 - LP (COLOURED)

  655035051215

Details

REISSUED ON GLACIAL BLUE VINYL! Papercuts' You Can Have What You Want is the third phase in Jason Quever's ongoing pop investigations. The relatively earthbound happy/sad pop of Mockingbird and Can't Go Back has been launched into the vault of the skies. Here, Quever delves further into epic dream-pop using mostly vintage organs, pulsing bass, and Kraut-via-Ringo-inspired drum rhythms. Intact from those earlier efforts is Quever's sense of arrangement and drama, as well as his soaring vocals, draped in reverb gauze. The words reveal a fascination with mortality and things cosmic, while sonically the voice acts as another instrument. This obsessively all-analog effort (no computer processing here whatsoever!) cuts across several eras of dreamy sound: '80s/'90s Creation and 4AD Records, The Zombies, '60s French pop, even Can's Future Days--and then there's the inevitable connection to former tourmates Beach House and Grizzly Bear. Indeed, Beach House's Alex Scally helped with some of the arrangements, though You Can Have What You Want is its own strain of addictive pop. For many, it will be the blissful/melancholy jam of the spring and summer. Quever was raised on a commune in Humboldt County, orphaned, and moved up and down the West Coast before calling San Francisco home and starting Papercuts, initially as a four-track recording project. When not performing with his own band, he can often be found recording others in his studio and filling in when needed as a multi-instrumentalist in friends' groups. "It takes a few seconds of Papercuts' second album, Can't Go Back, to think that maybe you've stumbled upon something special, a delicate mood piece made to slice through the din and chaos of modern life." --Pitckfork (8.3 rating)

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Press

Audio & Video

WINTER MCQUINN - 'MOVE TO THE TREES'

Formats

• TES037 - LP

Details

Perhaps known as the frontman of Sunfruits and as the drummer for Jade Imagine, Winter McQuinn’s solo music explores psychedelic country and folk rippling with a free-ness similar to Nick Drake, Syd Barrett, Kevin Ayers and more modern 70s soft rock purveyors like Michael Rault and Drugdealer. His impressive 2021 debut album ‘A Rabble Of Bees’ marked the beginning of Winnie’s solo wanderings, showcasing his songwriting talents and DIY inventiveness. Winter McQuinn’s sophomore solo album 'Move To The Trees' is set for April 5th via Third Eye Stimuli Records and Echodelick Records (USA). McQuinn recorded the new album in April 2022 over one weekend in Anglesea, Victoria with Jesse Williams (Leah Senior, Grace Cummings, Traffik Island) as engineer and producer. 'Move To The Trees' showcases a more refined and sonically sophisticated side to Winter McQuinn’s solo music. Featuring talented musicians Jack Kinder and Lewis Mosley from fellow Third Eye Stimuli family, Hot Apple Band, as well as Elena Jones from Sunfruits and Jaspar Robinson, McQuinn and co create a unique space through their artful intersections of hope and tragedy. A series of anthems for the future, settled in a post psych-folk and 70s soft rock energy, McQuinn takes influence from the new-wave of 70s folk and rock influenced artists from the USA's West Coast such as Sylvie, Cut Worms, John Andrews, Anna St Louis, The Lemon Twigs and more. This album showcases a step up in songwriting and production for Winter McQuinn who’s ever evolving style and commitment to creating is inspiring. The album cover design was hand painted by renowned folk / baroque pop artist Leah Senior and portrays McQuinn in different settings around Anglesea and the studio. 

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Press

Audio & Video

THE MYRRORS - 'EXPLODED VIEW'

Formats

• CFUL0268 - LP

Details

*BLACK VINYL* Cardinal Fuzz and Centripetal Force Records are pleased to present to you – The Myrrors – At Exploded View (Tucson, Arizona). This spellbinding recording captures The Myrrors, advocates / defenders of DIY/counter culture at their finest and most transcendental. Exploded Sound is a chemical reaction between two basic elements: rock'n'roll and the Avant Garde. Inspired by Terry Riley’s repetitive, long-form minimalism, the group’s extended, open-ended playing carries the spirit of Riley’s “all-night flights”, here The Myrrors sound just as expansive, indeterminant, and mind-blowing - confident enough not to force epiphanies and trusting that euphoria will grow. The communal nature of the playing also recalls Father Yod’s primitive psych-rock pioneers YaHoWha 13. The latter’s delirious 3am trips share an aura with The Myrrors in the playing of raw, ritualistic and seemingly-possessed musicians caught in the flow of the moment they are creating. One crucial difference between Myrrors and YaHoWha 13, is their leaderless nature. With no particular member in charge, their music has a refreshing lack of ego; it feels like the only thing steering the ship is the momentum created by playing together, as all the sounds created coalesce into a single moment where linear time dissolves into the electrified bliss of the band’s excursions into psychedelic minimalism. With Exploded Sound you get to hear The Myrrors stripped down minimalism and repetition unite and fuse into the most deadly musical combination of guitars, bass drums/percussion and viola. "With this incantatory live recording, Myrrors create a sound that feels drawn out of the soil. Drone calls, avant-squall, swells of devotional psychedelia—whatever you want to call this music, it's entrancing and spiritually voluminous, rising and falling in majestic arcs, soundtracking an imaginary Herzog documentary playing exclusively in your mind's eye." —Jason P. Woodbury

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