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viewing 1 To 22 of 22 items
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LP
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DC 839LP
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Repressed. "In addition to his day job transforming pop music with his own records, as well as those of Gastr del Sol, Loose Fur and Sonic Youth over the past few decades, Jim O'Rourke has been contracted for several dozen film scores over the years as well. It makes sense -- his abilities as an improviser, composer and producer allow him to interpret cinematic moments with a unique understanding for their construction and how they work. It doesn't hurt that Jim's a well-versed cineaste, a complete and total fan of watching films, which has given him a preternatural understanding of the role of music in movies. What doesn't make sense is how Hands That Bind is the first film soundtrack of Jim's to ever receive worldwide release! He's worked with filmmakers of international repute, like Olivier Assayas, Allison Anders, Werner Herzog and Kôji Wakamatsu! He served as music consultant on Richard Linklater's 2003 laff-fest, School of Rock! He's played in ensembles of award-winning documentaries and films alike! ... Made for an indie film that's been seen by festival audiences and not enough others, the soundtrack for Hands That Bind is a moody, atmospheric delight. Jim's roots in composition via tape-editing have evolved into a sophisticated assembly of found-and-processed sounds that achieve highly musical, near-orchestral majesty as they hang in the very air of the drama that unfolds in Kyle Armstrong's Hands That Bind. Described as a 'slow-burn prairie gothic drama' set in the farmland of Canada's Alberta province, and starring Paul Sparks, Susan Kent, Landon Liboiron, Nicholas Campbell, Will Oldham, and Bruce Dern, Hands That Bind is a spellbinding trip to the existential bone of rural working life in North America. As conflict rises over the hard-worked patches of land that provide a mere and mean existence, a desperate air settles in, as a series of mysterious, often supernatural occurrences rock the small community. O'Rourke's vaporous, serpentine musical backdrops and atmospheres reflect the obsessions and distractions of the film's principles; moods of all sorts seen or otherwise implied. Additionally, the music highlights cinematographer Mike McLaughlin's closely observed accounting of the farmers' environment, as well as the striking widescreen images of the big sky country with unnerving flair. For fans of Jim's ongoing steamroom series as well as collectors of soundtracks, Hands That Bind will provide hours of engrossing listening..."
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LP
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SPGRM 001LP
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Repressed. Shutting Down Here is a special work. Symbolically, it covers a period of thirty years, between two visits by Jim O'Rourke to the GRM, the first, as a young man fascinated by the institution and his repertoire, the second, as an accomplished musician, influential and imbued with an aura of mystery. Shutting Down Here is a piece shaped like a universe, a heterogeneous world in which collides the multiple musical facets of Jim O'Rourke: instrumental writing, field recordings, electronic textures, and cybernetic becomings, dynamic spaces, harmonic spaces, silent spans. This variety of approach, strangely, does not in any way weaken the coherence of the whole and this is the talent of Jim O'Rourke, a talent, properly speaking, of composition, where all the sound elements compete and participate to stakes that exceed them and of a common destiny, that is to say of an apparition. Due to the wide dynamic levels, please adjust your volume accordingly.
Released in association with Editions Mego. Coordination GRM: François Bonnet, Jules Négrier. Executive Production: Peter Rehberg. Recorded at INA GRM and Steamroom. Personnel: Eiko Ishibashi - piano; Atsuko Hatano - violin, viola; Eivind Lonning - trumpet. Cut by Andreas Kauffelt at Schnittstelle, Berlin, February 2020. Photo by Eiko Ishibashi. Sleeve design by Stephen O'Malley.
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4CD BOX
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SNS 016CD
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Repressed. A four-hour work, recorded at Jim O'Rourke's studio, Steamroom, between 2017 and 2018. Detailed and delicate electronic layers, processed instruments, and ambiguous field recordings come together in a slow-moving, fascinating kaleidoscope with multiple reflections and wrong turns, always in a constant state of flux. The finely crafted art of subterfuge. The four-CD set To Magnetize Money and Catch a Roving Eye is a hypnotic, multi-faceted, labyrinthine piece which flows as slowly as a river while speeding back through memory. Composer, performer, and multi-instrumentalist Jim O'Rourke was born in Chicago in 1969. He is a veritable chameleon working at the frontiers of very diverse musical genres.
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CD
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DC 620CD
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"Yes, Simple Songs is an album of songs sung by Jim O'Rourke all the way through! It has been ten years since Jim's voice rang out from a new album. Ah, when James Michael was just a wee lad, he sang all the time, with a lovely little lilt to his voice, like all the children do. But the songs he sang gave his parents no end of consternation: 'Great Decei-verrr! Cigarettes, ice cream, figurines... of the Vir-gin Mar-eeee!' Aye, if only we'd-a been there -- little Jimmy's career would have started much sooner. Child labor laws be damned! It's hard to believe it has been nearly fourteen years since Insignificance. When that album hit in late 2001, we heard once or twice how it was too bad that it wasn't Eureka Part 2. Sissies! Then in 2009, when The Visitor returned Jim to the orchestrated instrumental feel of Bad Timing, people wondered when we'd have another album like Insignificance! Grrrr.... now, has the world caught up with Jim? Maybe -- but only because he let us. What Simple Songs sounds like.... At this point, the range of sounds and songs that have turned Jim's head are numerous enough to have crushed together into something that is unmistakably his -- the vast, glossy and glittering O'Rourkian (yes, like Kervorkian) wall of sound. The music's got OCD quality, played so immaculately by so many instruments, and most of them by the creator's hand. This time's really the widest screen yet for Jim's popular song-style, truly breathtaking! As for the songs themselves, one may have to resist the urge to skim the lyrics to try and guess who the target of each ditty might be -- but this ain't 'You're So Vain,' okay kids? And you're definitely NOT Warren Beatty. Simple Songs was worked over, from source material to finished mix, for five years or more now. Jim's writing is kinda rooted in the approach of Insignificance -- frosted pop tarts that leave a darkly bitter aftertaste. So bilious not even Jim can listen to it all the way through! Fine, it's not for him to listen to anymore -- WE can't stop from listening. It's like a beautiful car wreck we can't look away from or stop feeling AMAZING about. Super fun stuff."
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LP
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DC 620LP
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2023 repress. "Yes, Simple Songs is an album of songs sung by Jim O'Rourke all the way through! It has been ten years since Jim's voice rang out from a new album. Ah, when James Michael was just a wee lad, he sang all the time, with a lovely little lilt to his voice, like all the children do. But the songs he sang gave his parents no end of consternation: 'Great Decei-verrr! Cigarettes, ice cream, figurines... of the Vir-gin Mar-eeee!' Aye, if only we'd-a been there -- little Jimmy's career would have started much sooner. Child labor laws be damned! It's hard to believe it has been nearly fourteen years since Insignificance. When that album hit in late 2001, we heard once or twice how it was too bad that it wasn't Eureka Part 2. Sissies! Then in 2009, when The Visitor returned Jim to the orchestrated instrumental feel of Bad Timing, people wondered when we'd have another album like Insignificance! Grrrr.... now, has the world caught up with Jim? Maybe -- but only because he let us. What Simple Songs sounds like.... At this point, the range of sounds and songs that have turned Jim's head are numerous enough to have crushed together into something that is unmistakably his -- the vast, glossy and glittering O'Rourkian (yes, like Kervorkian) wall of sound. The music's got OCD quality, played so immaculately by so many instruments, and most of them by the creator's hand. This time's really the widest screen yet for Jim's popular song-style, truly breathtaking! As for the songs themselves, one may have to resist the urge to skim the lyrics to try and guess who the target of each ditty might be -- but this ain't 'You're So Vain,' okay kids? And you're definitely NOT Warren Beatty. Simple Songs was worked over, from source material to finished mix, for five years or more now. Jim's writing is kinda rooted in the approach of Insignificance -- frosted pop tarts that leave a darkly bitter aftertaste. So bilious not even Jim can listen to it all the way through! Fine, it's not for him to listen to anymore -- WE can't stop from listening. It's like a beautiful car wreck we can't look away from or stop feeling AMAZING about. Super fun stuff."
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2LP
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OLDNEWS 009LP
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Jim O'Rourke's Old News series continues with this, the ninth installment. This new release is unique in the series in that it is the first to feature an all-new composition. The work here showcases the kind of experimental concrete drift which O'Rourke has been exploring for a number of years, resulting in a magical blend of musical abstraction. Whistling drones morph into crystallized rain, shortwave chaos folds into haunting organ landscapes, and the intimacy of this particular journey is witnessed through the ebbing tides of sound that emanate throughout this monumental release. Available only in this format.
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2LP
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OLDNEWS 008LP
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More archival works from Jim O'Rourke see the light of day on Old News #8. Recorded in 1991-1992. Originally released as part of Disengage by Staalplaat. Special thanks to Geert-Jan Hobijn and Frans de Waard for their years of support. Jeff Cortazzo (trombone), Sue Wolf (cello), Michael Prime (shortwave), Geoff Fontaine (voice), Gretchen Wells, Matt Guerierri, Scott Shell. "Merely" recorded live at DePaul University, 1991 -- Carrie Biolo (percussion). Remastered in 2012, Steamroom Tokyo. This one is for Billy F. Available only in this format.
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2LP
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OLDNEWS 007LP
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More archival works from Jim O'Rourke see the light of day on Old News #7. Side one and two were recorded circa '96-'97 at the Steamroom, Chicago. Side three was recorded live in Nagoya at Tokuzo, April 2011. Thanks to Carlos Giffoni. Side four recorded during '93-'94 and originally released on These Records. Thanks to Andrew & Howard Jacques. "Welcome To The Django" is a 2-sided mid-'90s excursion of O'Rouke's first experiments with a Serge Modular System. "Natural Born Killers" is a recent live jam recorded in Nagoya. "Tacere Fas" is legendary early '90s piece, finally available again, originally appearing on the compilation Unentitled, released by These Records in 1994. Available only in this format.
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2LP
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OLDNEWS 006LP
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Hot on the heels of Jim O'Rourke's Old News #5 comes #6, a new 70+ minute electronic piece split over four sides. Two years in the making, "All That's Cold Is New Again" was partly commissioned by Christian Zanesi for GRM's Présences Électronique Festival in Paris. An intense and rewarding listen, rich in detail and full of some classic O'Rourke hooks and turns, which he has masterfully developed over the last two decades.
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CD
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DC 375CD
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"The cat's back in the bag again -- try not to throw it in the river this time! This one is special: Jim O'Rourke has delivered his first new solo album since 2001. Working relentlessly since he burst onto the scene in 1989, Jim has played, recorded and mixed a couple hundred records -- but only a dozen of them have been Jim O'Rourke-endorsed products that bear the name that gives his promise of quality. That relative handful of albums has established a brand that's been burned deep into Jim's flanks. Is it any wonder that he fled the western hemisphere; never leaves his Tokyo apartment and isn't seen in public anymore without a strong drink in his hand? So anyway, it's been a long time since one of Jim O'Rourke's popular music records. The Visitor hasn't made us wait as long as Chinese Democracy but it has made us wince a lot less. Call it Jim's Japanese Democracy -- a republic of one inside the studio where it was recorded and mixed. The Visitor is a seriously all-O'Rourke affair -- all the sounds you hear are Jim and Jim alone. So this time you can't blame any of those session dudes and their bloodless line readings -- the chill you're getting is a one-hundred percent O'Rourke effect. As a matter of fact, it might be more like two hundred percent -- some of The Visitor is tracked so deep, it took two hundred tracks to hold it all. It doesn't sound like it though -- to Jim's credit, the mix sounds very minimal, very straightforward -- not like several hundred tracks at all. Call it his invisible wall of sound -- Spector without the gun. But what Jim lacks in firearms, he makes up for in desire. Speaking of sound, all the classic O'Rourke-isms are here, for you musicologist types: percolating banjos, smooth electric leads, organic, kicking drum sounds, the flickering of shakers to the left and right, mellow but ominous woodwinds, sounds that indicate 'vintage' (before turning left and running out the door), sonic jokes, sonic tear-jerkers, sonic jerkoffs, all wrapped in spacious yet subtle left to right placement of everything in the picture. There's moments of low comedy next to high drama and juicy melancholy with a seeming lack of regard for proximity (which of course is just what Jim wants you to think, that's how jaded and perverse he is!). Plus -- sudden surging rhythms! A roil of noise or two! Constantly shifting moods! Things that aren't what they seem! The Visitor is sort of 'O'Rourke Does O'Rourke' -- Jim recontextualizing everything he's done over the years, and throwing out the bullshit. The one thing you won't hear is his voice -- perhaps another O'Rourkian self-examination? Or maybe he's just saving it for all the name-calling on his next album. At the end of the day, The Visitor doesn't overstay its welcome -- call it a cautionary tale, rest of the music world! And get ready for redefinition -- Jim O'Rourke is back."
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LP
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DC 375LP
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2023 repress; deluxe gatefold LP version. "The cat's back in the bag again -- try not to throw it in the river this time! This one is special: Jim O'Rourke has delivered his first new solo album since 2001. Working relentlessly since he burst onto the scene in 1989, Jim has played, recorded and mixed a couple hundred records -- but only a dozen of them have been Jim O'Rourke-endorsed products that bear the name that gives his promise of quality. That relative handful of albums has established a brand that's been burned deep into Jim's flanks. Is it any wonder that he fled the western hemisphere; never leaves his Tokyo apartment and isn't seen in public anymore without a strong drink in his hand? So anyway, it's been a long time since one of Jim O'Rourke's popular music records. The Visitor hasn't made us wait as long as Chinese Democracy but it has made us wince a lot less. Call it Jim's Japanese Democracy -- a republic of one inside the studio where it was recorded and mixed. The Visitor is a seriously all-O'Rourke affair -- all the sounds you hear are Jim and Jim alone. So this time you can't blame any of those session dudes and their bloodless line readings -- the chill you're getting is a one-hundred percent O'Rourke effect. As a matter of fact, it might be more like two hundred percent -- some of The Visitor is tracked so deep, it took two hundred tracks to hold it all. It doesn't sound like it though -- to Jim's credit, the mix sounds very minimal, very straightforward -- not like several hundred tracks at all. Call it his invisible wall of sound -- Spector without the gun. But what Jim lacks in firearms, he makes up for in desire. Speaking of sound, all the classic O'Rourke-isms are here, for you musicologist types: percolating banjos, smooth electric leads, organic, kicking drum sounds, the flickering of shakers to the left and right, mellow but ominous woodwinds, sounds that indicate 'vintage' (before turning left and running out the door), sonic jokes, sonic tear-jerkers, sonic jerkoffs, all wrapped in spacious yet subtle left to right placement of everything in the picture. There's moments of low comedy next to high drama and juicy melancholy with a seeming lack of regard for proximity (which of course is just what Jim wants you to think, that's how jaded and perverse he is!). Plus -- sudden surging rhythms! A roil of noise or two! Constantly shifting moods! Things that aren't what they seem! The Visitor is sort of 'O'Rourke Does O'Rourke' -- Jim recontextualizing everything he's done over the years, and throwing out the bullshit. The one thing you won't hear is his voice -- perhaps another O'Rourkian self-examination? Or maybe he's just saving it for all the name-calling on his next album. At the end of the day, The Visitor doesn't overstay its welcome -- call it a cautionary tale, rest of the music world! And get ready for redefinition -- Jim O'Rourke is back."
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2CD
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EMEGO 050CD
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Restocked. Recorded between 1997-1999 in NY, Osaka, Tokyo, Toronto and Malmö. Originally released on Mego in 2001, Jim O'Rourke's I'm Happy, And I'm Singing, And A 1,2,3,4 is now reissued with a bonus disc featuring unreleased material from the same period, sourced from Jim's vast archive, as well as new artwork. Jim O'Rourke needs no introduction, being well-known as a performer, producer and all-round top chap, as well as a member of various pop and rock combos for more than two decades (Gastr Del Sol, The Red Krayola, Sonic Youth, etc). I'm Happy, And I'm Singing, And A 1,2,3,4 was cited by many common folk at the time as Jim's ultimate laptop record or his Powerbook album. Nowadays, people prefer the simple term "computer" when referring to the instrument used for the creation of this milestone album. Equal parts schizoid pop, cracked minimalism, concrète drama and melancholic contemplation, this is a highly personal release. Given the nature of this warm beast, it appeals across the board -- electronic nuts, indie rock kids, and yes, even the good folk of the established experimental world may take pleasure in the delicate nuances of Jim's hard drive. This reissue is long overdue (the album being out-of-print for 5 years), including a bonus disc featuring unreleased material as well as new artwork. This album will not be available as a download. File under: "handsome."
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2CD
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STREAM 1023CD
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"Long Night, a 2½ hour electronic drone work produced by Jim O'Rourke in 1990 around the time of his graduation from music school had been buried in the archives along with several other electronic music pieces Jim had created before he went about to explore other musical territories. Unearthed, remastered and now released for the first time, its ageless qualities shine as brightly as ever." "...the tower was not a tower; it was a needle. Standing on top a high hill, it jabbed a finger heavenward. At the base it measured a good six feet across, tapering to a sharp point a hundred feet or more above the ground. It was of a rather nasty pinkish color and was made of a substance that appeared similar to the substance of which the cube had been constructed. Plastic, he thought to himself, although he was fairly sure it was not plastic. When he laid his hand flat against its surface, he could feel a slight vibration, as if the wind out of the west, playing upon it, was causing it to vibrate along its entire length as a freestanding, tapering, most unlikely violin string would vibrate to the bow. It was not generally loud, although at times it became a little louder. Despite the fact that more often than not it was a soft music, it had fantastic carrying power."
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CD
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DC 362.2CD
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"Part two of the multi-part Jim O'Rourke 'Old Timing' reissue series is Tamper, from 1991. Tamper is a set of three acoustic instrumental compositions recorded on analog tape during the final days of the first digital wave (we're at the end of at least the third wave nowadays), when everyone but a certain young schoolboy in short pants were looking towards CDs and DATs as the things of the future. Fools! As both those purely transitory formats fade into obsolescence (what's DAT?), Tamper's analog sound rises again -- and even though it comes to you on the frighteningly emaciated CD format, it's still a reminder of the reward that pure sound before all definition has to offer us. The spaced-out minimalism of Tamper is as forward-looking today as it was 17 years ago -- and as such, it's a seminal work in Jim O'Rourke's catalog. That's what this reissue series is all about, bringing it all back home to some of the young master's lesser-known works -- all remastered and shit. And with Tamper, the goal is to get back to listening to the sound rather than what we expect of it -- the literal sound of a piano as opposed to us hearing our expectations regarding the playing of a piano. As sweet and virginal as all this sounds, we the listener find ourselves straining to hear unvarnished acoustical sound throughout the album -- there's some of that here, but there's definitely some pixie dust in Jim's methods. Tamper's three pieces move quite fluidly along -- so much so, that you might never consider that they're actually mapped out in a constant series of crossfades. No particular sound lasts more than 10 or 20 seconds, a process which interprets things in its own mind- (and ear-) bending manner -- and gives Tamper a blazed trail all of its own!"
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LP
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DC 202LP
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2023 repress. "Insignificance consists of rock plus multiple musical allusions, layers of discreet noises, great playing from all the players and, to top it off, funny pop tunes laced with lyrical arsenic. As the moving finger of O'Rourke points (and clicks...just kidding! Insignificance is an all-analog affair), moments will come and go -- to remind you of other moments. Moments will arrive that have no precedent. And different, conflicting emotions will flash within you. He'll have total control of you, the helpless listener."
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CD
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DC 202CD
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"Insignificance consists of rock plus multiple musical allusions, layers of discreet noises, great playing from all the players and, to top it off, funny pop tunes laced with lyrical arsenic. As the moving finger of O'Rourke points (and clicks...just kidding! Insignificance is an all-analog affair), moments will come and go -- to remind you of other moments. Moments will arrive that have no precedent. And different, conflicting emotions will flash within you. He'll have total control of you, the helpless listener."
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DC 178CD
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1999 EP release, repressed 2009. "It seems like it was only a few months ago that Jim O'Rourke changed everything with the release of the incredible Eureka. And by George, it was only a few months ago. Well never mind -- here he is again with a little more of the same: pop music, but credibly different this time, of course. The pop stylings of Jim O'Rourke will never seem familiar to any of us (that's not his style, silly) but his combination of folk, classic rock, (smooth jazz) and the inevitable twist of the old avant-garde is always something new. Having established himself last time out as some kind of songwriter and singer in his own write, Jim presents more funky, catchy, poppy songs with and without vocals that are sure to spin semi-endlessly on turntables, digital discburners and those fab MP3 players across this land of ours."
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12"
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DC 178EP
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2022 repress, originally released 1999. "Well, never mind--as long as people love it, here's another few sides of long-ago and far-away O'Rourke back on vinyl for the first time since way back in the mid-aughties. It's the Halfway to a Threeway 12" EP back to set turntables a-spinnin'! Fans of Eureka and Insignificance (not to mention Jim's tomfoolery as part of the Loose Fur band) will appreciate the analog pressing of these four slices of the pop music party-pooper combination of folk, classic rock, smooth jazz and a bit of the old avant-garde to help communicate the twisted ways of the misanthrope that made Jim such a perennial in the fickle world of record sales. A quick listen to the title track will hip you to our meaning: Halfway to a Threeway exposes our sweet soul-crusher as a lustful man-beast on the make. The song is a straight folk number--straight, that is, until you listen through the haze of those six-string overtones and chirpy harmony vocals to hear the true perversity of O'Rourke's fantasies. The decadence of stardom seems to have turned Jim into not only a sex freak, but also a man who loves women of all persuasions--particular the crippled and brain-dead kind! Don't listen to this song alone--at least, not with the drapes open."
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CD
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DC 162CD
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1999 album, release, repressed 2009. "With his new LP Jim is doing for himself what he's more than generously done for other so-called musical talents. Everybody wants a little pop in their lives and the O'Rourke is no exception. There is no way to listen to Eureka without hearing the eccentricity, the progressive musical textures, the utter lack of anything like pop music, but at the same time it's magnificent in scale, pleasant to listen to, catchy and even reminiscent of other records you might actually have heard on The Casey Casem Show. If Bad Timing was regarded as a crossroads of O'Rourkian interests, Eureka is a six-lane clover-leaf junction of singer-songwriter traditions, production styles of the 70s, confusion and contradiction as well as the riveting sound of the artist putting all his cards on the table."
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DC 162LP
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2024 repress; originally released in 1999. LP version. "Jim is doing for himself what he's more than generously done for other so-called musical talents. Everybody wants a little pop in their lives and the O'Rourke is no exception. There is no way to listen to Eureka without hearing the eccentricity, the progressive musical textures, the utter lack of anything like pop music, but at the same time it's magnificent in scale, pleasant to listen to, catchy and even reminiscent of other records you might actually have heard on The Casey Casem Show. If Bad Timing was regarded as a crossroads of O'Rourkian interests, Eureka is a six-lane clover-leaf junction of singer-songwriter traditions, production styles of the 70s, confusion and contradiction as well as the riveting sound of the artist putting all his cards on the table."
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DC 120CD
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"Make no mistake, Bad Timing is not a pop album by any standards. But it is a musing on popular standards and uses much of the same instrumentation that many of our country's most popular records have. Yes, Bad Timing is a theme record, Jim O'Rourke's pop opera, just waiting for someone to come along and play with it. Based on Fahey-esque 6-string acoustic guitar foundations, each of the three pieces expand to include other musical elements. Piano, organ, electric guitar, brass, strings -- everything, it seems except vocals! Think of the impressionist Americana of Van Dyke Parks and the soundtracks of Jack Nitzsche."
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LP
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DC 120LP
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2022 repress; LP version, originally released 1997, the first O'Rourke album for Drag City. "Make no mistake, Bad Timing is not a pop album by any standards. But it is a musing on popular standards and uses much of the same instrumentation that many of our country's most popular records have. Yes, Bad Timing is a theme record, Jim O'Rourke's pop opera, just waiting for someone to come along and play with it. Based on Fahey-esque 6-string acoustic guitar foundations, each of the three pieces expand to include other musical elements. Piano, organ, electric guitar, brass, strings -- everything, it seems except vocals! Think of the impressionist Americana of Van Dyke Parks and the soundtracks of Jack Nitzsche."
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