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BING 209LP
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"Fables of the future fuel the present. Lisel (Eliza Bagg) draws from this tradition on The Vanishing Point, a daring musical odyssey of altered singing, experimental pop, broken melodies, and striking electronics. A culmination of her continual dissemblance of genre, Lisel's new album is an epic composed of allegorical tales, forming a dystopian storybook of life in the shadow of impending catastrophe. It's a high-concept work of contemporary pop sounds, hyperpop motifs and tropes. Every song reflects the shared psycho-emotional experience of moving towards unsettling futures and looking beyond these outcomes, to the point where the horizons vanish. Evolving the sonic toolkit she employed on Patterns For Auto-tuned Voices And Delay (2023), Lisel transforms pop into a canvas for operatic storytelling. Along with making her own work, Bagg is a classical singer working in baroque and contemporary experimental opera, and with her project Lisel, she seeks to develop new, expressive qualities out of ancient vocal techniques from the Baroque and Renaissance periods. Her opera experience has infused her with a desire for a big, cinematic sound and holistic world-building, creating a 'total artwork,' and she fits that medium into the form of a solo project. From haunting whispers to soaring melodies, she reaches back towards ancient musical traditions while incorporating futuristic sounds in order to imagine how a possible future might look back at contemporary existence. Dystopic stories melt into pop songs, hammered to ruin. Both through sonics and lyrics, the album recounts urgent narratives as ancient mythological fables, chronicling in operatic density the deepening awareness of the world's looming, inevitable vanishing point. Photographer Carla Rossi further builds Lisel's world through a series of photographs that similarly draw on Renaissance and Medieval painting, while placing them aesthetically in a digital realm. In these dramatic, hyper-stylized photos, Lisel takes up classical poses and yields iconographic symbols, further exploring the dissonance in her work as these manufactured 'paintings' recall storytelling of the past while depicting images from an imagined future."
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BING 208LP
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"Quinnisa Kinsella-Mulkerin recorded her first song at five years old with her parents, who comprise the adventurous Maine band, Big Blood. Ever since the age of five, she was writing songs, banging on chimes, strumming guitars, and clanging together whatever else she could find. Improvisation was natural, and she stuck to the approach. Kinsella-Mulkerin brings this innate sense of songwriting to The Wickies, a duo she formed with Aiden Arel at age 16, whose chill approach and fluid delivery belie true inventiveness in the underneath mechanics. Inspired by seventies folk icons like Stevie Nicks, Krautrock bands like Can, and modern indie-rockers like Alex G, The Wickies feel like an amalgamation of these decade-spanning sounds, but uniquely their own. Kinsella-Mulkerin's voice croons like a seventies folk star, but it possesses a great and controlled tone. Her vocals feel like another instrument within the mix, building and growing each song to its fullest sound, leaving no detail within the mix unheard. Their use of echoing guitar lines recalls sixties psych, a springboard for their unique take. Kinsella-Mulkerin's lush, free-flowing lyrics, created on the spot, complement Arel's fleshed out backing instrumentation and over-dubbing. Quickly, the pair created more material than they ever needed, allowing them to mold their recordings into a self-titled debut album. Like a painter crafting the perfect exhibition of their finest work, Arel and Kinsella-Mulkerin condensed their improvisations to all the best parts. Tracks like 'Campfire Song' and 'Skipping Pond' exemplify the ethereal and lackadaisical atmosphere of their sound. 'I keep finding these weird, obscure bands from the seventies that have one album and nothing else, which is awesome,' Kinsella-Mulkerin says, 'I want my music to sound like somebody found it in a record store that no one has ever heard of and uploaded it to YouTube. I want it to sound a little strange.'"
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4LP
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BING 207LP
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"Presenting the first vinyl release of Dreamloops, a collection of long-form tracks that form a stunning two-and-a-half-hour suite over four LPs. The box set has been created, mixed, and designed by Dennis Huddleston, who, as 36 ('three-six'), is among the most celebrated electronic musicians operating today. Praised for his ability to imbue songs with strong, relatable undercurrents, Huddleston achieves a new level of subconscious connection with Dreamloops. First appearing in 2019 as a series of cassettes, Dreamloops was revisited by Huddleston in 2023 to bring newfound clarity, focus, and cohesion. There are eight pieces, each an 18:00 minute standalone self-contained work. In each song, time slows as an ensemble of sounds builds on themes and develops emotional power. Much like epic works such as The Sinking Of The Titanic by Gavin Bryars, LaMonte Young's Well-Tuned Piano, Daughters Of Darkness by Natural Snow Buildings and Morton Feldman's String Quartet II, each fragment of Dreamloops culls developing melodies towards hauntological steps forward. Sound spectrums don't spread wide but instead focus on a precise musical statement, exploring its absolute potential. That said, Dreamloops does not exist in its own idealized sphere. Deep listening reveals tape hiss, oversaturation, wow and flutter, and similar imperfections. The fingerprints deepen part of these tracks' emotional impact. Henryk Gorecki's humanity meets Max Richter's sense of grandeur meets Deathprod's absolute sound mining, as Huddleston deftly maneuvers his songs toward momentous epic impact."
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BING 210LP
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"Forgive Too Slow, avant-garde artist Julia-Sophie's deeply personal debut album is testament to her ability to transform adversity into raw beauty, combining her traditional songwriting roots with her own take on experimental electronica. It features her intimate voice backed by warm and precise electronic sounds whose free-spirited explorations give body to the carefully written personal songs. Julia-Sophie comes off the drama of her 2010s rock band, Little Fish, which was signed to a major label. The surreal experiences (like being flown to Las Vegas in helicopters with a bag of slot machine money or given limousines for the day to go shopping), along with having to work in environments where she felt unsafe, drove her decision to leave the fame game. She turned down the offer to emigrate to America and engage with the machinations of the system as it did not feel 'true or congruent with who I was.' Instead, she focused her attention on her hometown (Oxford, UK). She started recording lo-fi pop in her garage, using an old laptop, wonky microphones and hitting whatever was around for beats. Her band at the time, Candy Says, grew to be more of a collective than a band, and eventually co-wrote a film score for indie film Burn Burn Burn and recorded a cover of 'Running Up That Hill' for the Netflix film Close (starring Noomi Rapace). Julia-Sophie soon started recording songs with her friend B, who had a studio stacked from wall-to-wall with analogue recording gear, vintage synths and drum machines. She decided to self-release and the music reached audiences beyond her expectations, including support from BBC Radio 6 and a feature in The Quietus. Forgive Too Slow is Julia-Sophie's debut solo album, and concerns relationships and the struggles one goes through when one 'forgives too slow' and can't break out of patterns from the past. The songs narrate her story of self-destruction ('Numb'), love ('Falling'), and loss ('Telephone'). By the end, embers are still burning and there is no telling if Julia-Sophie has found peace, but one does get a sense that she has gotten closer to the core of her being and is finally living authentically."
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BING 206LP
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"Asher White's third album in two years (and fifteenth overall), Home Constellation Study is less a refinement of 2023's sly, quaint New Excellent Woman, and more an explosion of it. Her meticulous chamber pop has given way to resplendent swells of horns and squeals of noise, throbbing bass and queasy orchestral loops. The cover, painted by White, frames a burst of flowers against a dark blue abyss, mimicking the music: over-frenzied sambas, bleary slacker rock, hushed ambient meditations, and surprisingly slick disco, White mines her personal minutiae for tokens of political decay, alienation, and religious rapture. 2024 has found the prolific Providence-based singer-songwriter ascending through her city's fertile experimental rock scene alongside the breakout synth-punk act babybaby explores and her labelmates Or Best Offer. Live, White's band plays riotous, unpredictable noise rock that nods to their city's storied DIY scene; on Home Constellation Study, mid-album highlights like 'Downstate Prairie' and 'Hymn' nod to Providence's bands of yore with their blistering sheets of feedback and pummeling drums, placing White, improbably, within the lineage of local heroes Les Savy Fav or the broken pop dispatches of Black Pus. At its core, however, Home Constellation Study is the product of studied, monastic auteurism. Like New Excellent Woman, it was arranged, performed, recorded and mixed by White alone in her basement studio in Providence. 'Happy Birthday' is an earnest psalm, a paean of devotion and remorse to God a la Beverly Glenn-Copeland that drifts along with Panda Bear haziness. White's concept of 'toxic femininity' undergoes further investigation on 'Good Luck!' and 'Runes,' both with Elliott Smith-like chord changes and the barbs of cynical romantics like Aimee Mann. Asher White's vision has never been so expansive and unpredictable."
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BING 204CD
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"Having carved out a niche performing groundbreaking chamber opera around the world, Australian singer Jane Sheldon's first solo album finds a path through the combination of Rainer Maria Rilke (a German poet dead for almost a century), her voice, and seven gongs. On I Am A Tree, I Am A Mouth, working with one gong for each song, Sheldon launches herself into experiments with layered voices, electronic processing, and super-slowed-down fragments of sonic resonance, where she skirts the edge of avant rock to find her true singular voice. It's an album that's viscerally human, earnestly sensual and passionately transcending, drawing inspiration from Sarah Davachi, Hildegard von Bingen, Maryanne Amacher, and Lhasa de Sela. Long a critical darling of modern music (called 'riveting' by The New York Times, 'stunning' by The Washington Post, and 'a voice of penetrating beauty, precision and variegated colors' by the Sydney Morning Herald), she's premiered new operas at Holland Festival with ASKO|Schönberg and Sydney Chamber Opera and toured the world with John Zorn. But Sheldon goes minimal on I Am A Tree, I Am A Mouth. She started recording gongs, slowing them down, singing along, seeing how the interaction sounded, and soon realized it embodied all she was looking to achieve. Not one breath hides, and as one listens one is made aware of one's own breathing, one's heartbeat, the flow of one's blood. Sheldon completed the album at the tail end of the pandemic, and she released the album to streaming with almost zero promotion. She was surprised when The New Yorker and Bandcamp praised its unique vision, as well as when New York's MATA Festival programmed the first live performance of the work. Sheldon's discipline involves utter focus and emotional engagement and I Am A Tree, I Am A Mouth is an enrapturing work by a newcomer to mainstream audiences who has been kicking at the edges for years."
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2LP
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BING 197LP
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"In Peter Strickland's Flux Gourmet, a dysfunctional group of performance artists undertake a month-long residency at an institute devoted to culinary disciplines. Food is interrogated for its sonic potential as the group mic-up, amplify, distort and transform what they cook in front of an audience. The noise that the characters in the film itself make is driven by food blenders, overflowing cauldrons of gurgling soup and sizzling frying pans (courtesy of The Sonic Catering Band), yet the music that soundtracks the culinary capers is engorged with aching melodies and wordless, airy vocals. Contributors include Cavern Of Anti-Matter, Jeremy Barnes and Heather Trost of A Hawk And A Hacksaw and Trost's band, Roj (formerly of Broadcast), and Nurse With Wound. Flux Gourmet is presented in a lush double LP package with an ornate, colorful design and Strickland's detailed liner notes. Image, color, light and sound are integrated and heightened to delirious levels of hyperreality, much like Strickland's past works, Berberian Sound Studio and In Fabric. Flux Gourmet very much alludes to his past as a member of The Sonic Catering Band, which he founded back in 1996. The band split on several occasions and got back together to create new pieces for the soundtrack, concocting strange sonic morsels and treating recipes as if they were scores. The lines between what is on the screen and what is on the soundtrack are blurred, with the band (mostly) using the exact same equipment (which they loaned to the production) and recipes as in the film. However, for all the conceptual rigor on display, the music on the Flux Gourmet is ultimately in pursuit of catharsis, as one character concedes. The power of music and/or noise to purge and cleanse its makers (and hopefully, listeners) of their ills and woes."
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BING 195LP
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"Matt Loveridge is a prolific multi-instrumentalist condemned to Bristol, UK. He has over sixty solo records under various monikers, done before and after his time in Beak>, none of which appear on major streaming platforms, nor get much attention. His work as MXLX is a miasmatic fog, and he tosses the listener deep into it. Kicking Away At The Decrepit Walls Til The Beautiful Sunshine Blisters Thru The Cracks is his most celebrated release (if one counts hate mail), and it appears here for the first time both on vinyl and somewhere not on his own site. Songs swerve between ambient, electronic ambient noise, metal, and industrial. Vocal harmonies ride arpeggiated basslines and shimmering synth lines, ascending upwards before plummeting into distorted screams. And yet, Loveridge's aggression does not overlook introspection. Drawing from an obsession with literature, he's converted a life stricken with bouts of depression and homelessness into febrile sonic turbulence. He channels the intensity of groups like Pharmakon and The Body, while embracing compositional noise like Colin Stetson. With droning organs, emotionless chanting, and fleeting walls of sound, his results have more to do with cosmic futility than petty score-settling. MXLX produces barren liturgies of raw emotion, like a fallen medieval monk given a synthesizer. He pulls the listener from comfort, spits in their eye, and abandons them as roadkill. An explosive catharsis not for faint hearts or distracted minds."
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BING 203CD
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"Maybe everything has been going to such shit lately because Barbara Manning has been hibernating. A Matador Records mainstay and pivotal indie-rock pioneer of the nineties, Manning has continually written material that matches the quality of the many songs she covers. Both as a performer and a listener, Barbara Manning is a passionate lifer. While her music is compact and succinct, it is steeped in multitudes of genre periods and styles. From SF Seals to her work with Stuart Moxham (Young Marble Giants) to The Go-Luckys, every collaboration carries her genius melodies and lyricism. In a four-minute catchy song, Manning can communicate what others require novels to express. Her fans include Yo La Tengo, The Clean, Sonic Youth, Tall Dwarfs, Pavement, Calexico, The Replacements, and even Faust (don't forget her prolific work as half of free-sound stalwarts Glands Of External Secretion). With an upcoming tour joining Codeine, Manning felt the time was right for something new. Thus, Charm Of Yesterday? Convenience Of Tomorrow. It compiles a few different periods. 'Chico Daze' is a song cycle that absorbed the dark times and experiences she had in Northern California through the 2010s. 'The Porch Series' cover songs were Manning's antidote to pandemic madness, and features the music of Elliott Smith, Edgar Winter, Richard & Linda Thompson, Galaxie 500, Bob Dylan, and The Handsome Family. Now situated near Los Angeles, where she works as a drama teacher, Manning has been playing live again and recording, channeling her innate sense of theatricality and dynamics into this new musical era. Charm Of Yesterday? Convenience Of Tomorrow heralds a new phase of releases for an iconic, legendary artist set to reintroduce herself and show how beautiful songwriting flames eternal."
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BING 194CD
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"Delia Meshlir presents her new album, Bring Back The Light, which is her second release on Ba Da Bing Records. On the Swiss artist's new record, Meshlir expands her sound to skillful new levels, with woodwinds and synthesizer adding to her guitar playing. It was recorded in Switzerland's Alps, as well as at the illustrious Figure 8 Studios in Brooklyn, NY. Grief can open a window to the past. Nostalgia whelms, and childhood memories surface. While making Bring Back The Light, Meshlir struggled with the loss of her grandmother and the severed ties she felt with her family. The phrase 'bring back the light' served as a mantra, manifesting with a return to authenticity and a celebration of healing. For Light, Meshlir reunited with the piano, an instrument she's played since she was eight. She explains, 'It was on the piano that I learned to compose and create worlds that transcribed my emotions. I felt the need to return to what I did as a child, alone in my room.' Dissolving judgment and embracing desires, Meshlir sparked a needed light within her to create the record. Basic tracks done, Meslir expanded instrumentation; the final masters exploring a range of sounds, from '70s psychedelic rock to '80s inspired tracks heavy with sax and synth. 'I wanted different textures of the instruments and effects I used to immerse you into each and every song,' she says. 'I love when music is already saying what the lyrics are going to tell, when it brings you images, smells, memories, and feelings. I tried to do the same with my songs. Each one of them tells a story, in which you can make your own too. It's an open scene where everything can happen.' The album reflects a new maturity and confidence from Meshlir. When the arrangements were combined with a bassist, drummer, and guitarist, Meshlir says 'Everything was simple and obvious, nothing more, nothing less; it was telling the story I wanted.'"
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BING 194LP
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LP version. "Delia Meshlir presents her new album, Bring Back The Light, which is her second release on Ba Da Bing Records. On the Swiss artist's new record, Meshlir expands her sound to skillful new levels, with woodwinds and synthesizer adding to her guitar playing. It was recorded in Switzerland's Alps, as well as at the illustrious Figure 8 Studios in Brooklyn, NY. Grief can open a window to the past. Nostalgia whelms, and childhood memories surface. While making Bring Back The Light, Meshlir struggled with the loss of her grandmother and the severed ties she felt with her family. The phrase 'bring back the light' served as a mantra, manifesting with a return to authenticity and a celebration of healing. For Light, Meshlir reunited with the piano, an instrument she's played since she was eight. She explains, 'It was on the piano that I learned to compose and create worlds that transcribed my emotions. I felt the need to return to what I did as a child, alone in my room.' Dissolving judgment and embracing desires, Meshlir sparked a needed light within her to create the record. Basic tracks done, Meslir expanded instrumentation; the final masters exploring a range of sounds, from '70s psychedelic rock to '80s inspired tracks heavy with sax and synth. 'I wanted different textures of the instruments and effects I used to immerse you into each and every song,' she says. 'I love when music is already saying what the lyrics are going to tell, when it brings you images, smells, memories, and feelings. I tried to do the same with my songs. Each one of them tells a story, in which you can make your own too. It's an open scene where everything can happen.' The album reflects a new maturity and confidence from Meshlir. When the arrangements were combined with a bassist, drummer, and guitarist, Meshlir says 'Everything was simple and obvious, nothing more, nothing less; it was telling the story I wanted.'"
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BING 202LP
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"While possibly not the first ambient record to be inspired by J Dilla's Donuts, Secret Pyramid's A Vanishing Touch is in rarified company. The two seem antithetical -- with Donuts a now classic collection of short beats compiled together and A Vanishing Touch being a forty-minute suite consisting of fourteen pieces. However, like any genre, ambient music has a lot more going on beneath the surface than might be initially gleaned. From the start, Amir Abbey dropped his usual songwriting process of long contemplation and careful sculpting. 'I let the pieces live and breathe, and I spent a lot less time tweaking and editing. This allowed the record to come together quickly, with Abbey working on it nightly after his work day had ended. Working at home, as he always has, Abbey embeds synths, tape loops and processing, horns, ondes martenot, guitar, bass, and organ within the multi-tiered composition of A Vanishing Touch. Sounds morph, bleed, fade, and permeate with moments where a listener is able to make out what is being played at that moment. Each measure feels deep, singular, mysterious, and unconfined. It's a new approach to ambience?the magic of the moment as a moment, not stretched beyond its point in time."
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5LP
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BING 200LP
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"A decade on from the release of Ripely Pine, Lady Lamb's Aly Spaltro has created the definitive five-LP box set to commemorate and expand upon her landmark debut. With the original songs remastered, Ten Years Of Ripely Pine also includes three LPs of newly recorded studio material, produced and arranged by Spaltro and mixed by original co-producer Nadim Issa. It captures the time, mood, art and ambition of Aly Spaltro in her early twenties, who had already accumulated years of playing and self-recording experience before laying down tracks for this giant of a debut record, and the sage wisdom of a decade's experience."
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BING 201LP
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"Remastered for its 10th Anniversary, the newly cut vinyl edition of Ripely Pine features the bonus track 'Up In The Rafters.' More than anything, Aly Spaltro has 20,000 second-hand DVDs to thank for her first album. Taking the name Lady Lamb the Beekeeper, Spaltro became one of the most beloved musicians in Portland. Her live shows were unhinged, as melodies followed an internal logic only apparent to Spaltro herself. She sang and played guitar, and the songs offered a vivid yet brief snapshot of her expansive world. At 23, with years of writing and performing music already under her belt, she ventured to the next milestone -- recording an album. This would be the first time she did so in a professional studio and the first time she shared the process with anyone else. Luckily, she met Nadim Issa at Let 'Em Music in Brooklyn. He was taken enough by her abilities to dedicate nine full months toward the recording of Ripely Pine, and she with his producing abilities to ease comfortably into making him a part of her recording process. She wrote everything -- all the songs, all the arrangements. And the two of them assembled an album that finally fit what existed in Spaltro's mind. Keeping the songs' stark rawness, the record is a pure representation of her sound. Ripely Pine shouts the introduction of a new talent from every groove. These recordings come as close as possible to conveying the intense majesty of her live shows, and, much like those performances, a narrative breathes through the record's progression. The album opens with urgency and anger, settles into reconciliation and reciprocation, and ultimately reaches toward resolution, realizing infatuation leads to a loss of self; instead, embracing one's own strengths is the most powerful thing of all."
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BING 180LP
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"The Dead C's trio of albums in the middle of their harsh '90s reality served for many as entry points to the band. Operation Of The Sonne, The White House, and Tusk received wider distribution than the band had ever seen before, and this was the first rays of them being considered amongst the most important rock bands of the 20th century. This trio of vinyl reissues capture their intensity and presence in a way that may even blow out the candle of the original pressings. Newly remastered by Lasse Marhaug, and with bonus tracks, these 2023 reissues have been cut carefully and loud, with the sonic wars heard on these now-classic tracks more blaring than ever. Coming after the monster that was Harsh 70s Reality, and its evil twin, Clyma Est Mort, this album has always confounded even soi-disant Dead C fans. Side one documents the discovery of the analog synthesizer coupled with field recordings from the basement of Willowbank, Koputai's 'most stately' home. Side two emerged spontaneously to cassette on stage at the 'fabled' Empire Tavern -- and it still sounds like stripping the breathable atmosphere from an already-depleted biosphere."
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BING 181LP
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"The Dead C's trio of albums in the middle of their harsh 90s reality served for many as entry points to the band. Operation Of The Sonne, The White House, and Tusk received wider distribution than the band had ever seen before, and this was the first rays of them being considered amongst the most important rock bands of the 20th century. This trio of vinyl reissues capture their intensity and presence in a way that may even blow out the candle of the original pressings. Newly remastered by Lasse Marhaug, and with bonus tracks, these 2023 reissues have been cut carefully and loud, with the sonic wars heard on these now-classic tracks more blaring than ever." The Dead C on The White House, now including bonus track 'Breakdown/World': "Recorded in the winter of 1994, sessions were accompanied by snow, an infrequent but always super-exciting event in downtown Dunedin. Mainly if not entirely recorded direct to REVOX B77, just like The Clean's Oddities. Our version of Led Zepp IV with no 'Stairway', as recorded by the Meat Puppets in a K-hole. Originally M&D by Matador, this is as major label as we got. Mere pseud post-grunge sell-out moves-ah."
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BING 182LP
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"The Dead C's trio of albums in the middle of their harsh '90s reality served for many as entry points to the band. Operation Of The Sonne, The White House, and Tusk received wider distribution than the band had ever seen before, and this was the first rays of them being considered amongst the most important rock bands of the 20th century. This trio of vinyl reissues capture their intensity and presence in a way that may even blow out the candle of the original pressings. Newly remastered by Lasse Marhaug, and with bonus tracks, these 2023 reissues have been cut carefully and loud, with the sonic wars heard on these now-classic tracks more blaring than ever. How does one follow up one of the most immediately-revered noise rock releases of all time? Definitely not by spending ten times the money and time recording their next release and doing a bloated double album. Tusk (now including bonus track 'There Is Something To Be Gained'), The Dead C record, is uncompromising and unrelenting. Here's a band enjoying more attention than they ever got before, and they launch their new album with a long, ominous percussive rattle. Tusk digs into the thought bubble that formed via Operation Of The Sonne and The White House, sharpens the edges and reveals some of their greatest broken progressions and vicious feedback. The band is at their performative peak, staking their ground with an amp covered in dirt."
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BNG 001BK
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2023 reprint. Originally published in 2014. "The story of Jackson C. Frank is tragic. The victim of a school fire in his youth, struggling with homelessness and mental illness throughout his life, half-blinded in old age before his death in 1999, Frank met continuous obstacles. And yet he enjoyed a shining moment with the release of Jackson C. Frank on Columbia Records in 1965. The album would go on to be seen as one of the greatest folk albums of the decade -- maybe of all time -- and its opening track 'Blues Run the Game' has become a standard covered by hundreds. Jim Abbott's book is the result of years of research piecing together evidence, relations and apocryphal stories from Frank's life. It is also part memoir, as Abbott cared for Frank through the final decade of his life. Their friendship was fraught with difficulties, which Abbott portrays with the honesty of a journalist. In doing so, he draws a portrait of a uniquely gifted songwriter, blessed with talent and besotted by demons. At 250 pages, Abbott's memoir shows a flawed and caring individual whose struggle was best depicted in his songs. Following the release of Jackson C. Frank: The Clear, Hard Light of Genius, Ba Da Bing will release three volumes of Jackson C. Frank: The Complete Recordings in early 2015, compiling work from throughout his life, including unreleased material." 250 pages; paperback.
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BING 199CD
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"Tiny Ruins, the project of New Zealand musician Hollie Fullbrook, are back with their fourth album, Ceremony, out on Ba Da Bing Records. The follow-up to 2019's celebrated Olympic Girls, Ceremony goes deep into all the old and murky mysteries of what it means to be human -- and sometimes it nearly goes under. Yet these songs also show how one can find the strength to swim from the shipwreck, push through the silt, surface into another new morning -- another new chance. Ceremony washes in and takes one out like a strong tide, its songs 'chapters' of a saga set on the shores of Tāmaki Makaurau's (aka Auckland's) Manukau Harbour. Known to locals as 'Old Murky,' its western fringe of the Waitākere Ranges is home to Fullbrook. And while the harbor itself is a treacherous and oft-polluted body of water, move to one of its many peaceful inlets and it's all tidal flats, shellfish and birdlife. 'It's beautiful but also muddy, dirty and neglected. It's a real meeting of nature and humanity' says Hollie. The album's songs took shape as she explored the turbulent landscape on foot with her two dogs. The things Fullbrook was struck by there are annotated across Ceremony (cover art by Christiane Shortal) as luminously as a naturalist's scrapbook. After touring Olympic Girls both solo and with her long-term band line-up of Cass Basil (bass), Alex Freer (drums), and Tom Healy (electric guitar, producer) for eighteen months, Fullbrook returned home to the banks of Little Muddy Creek, exhausted and with the global pandemic looming. The songs that would become Ceremony existed as note files, 'scrappy poems,' words written earlier during a profound period of personal loss, words from a 'difficult place' that she'd become adept at avoiding. When lockdown started to ease, Fullbrook went to stay in an old train carriage in the town of Raglan and spent several days forging these hard lyrics into songs. The intuitive rapport of her bandmates steered these early demos in another direction, with inventive, often joyful arrangements that land Fullbrook's hard songs into a blissfully warm bedrock of sound -- steadied in a kind of musical trust fall."
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BING 192LP
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"Asher White's music is a complex and heartfelt reaction to the churn of the modern world. With tender intimacy and resounding anxiety, White takes a wide view through the lens of her own queer sexual politics and transgender identity; what does it mean to renew, to progress, to transform? What is lost, gained, or irreversibly altered? At 22 years old, White has developed a massive self-released discography: over a dozen albums since 2015, each one started the moment the last one was finished. New Excellent Woman is a distillation of these experiments and discoveries, a new achievement in songwriting that stands astride the cracks in the earth and lopsided ground. Songs jump between styles like a pubescent sex drive, all locked together by White's ability to pull melody out of chaos. New Excellent Woman wanders a meticulous cut-and-pasted path paved by forebears like The Books and Animal Collective. It sounds like a live band, bursting with kinetic energy, but the album was constructed alone in her Providence, RI studio, where she arranged, performed, recorded, and mixed the record herself. The ingenuity of Dirty Projectors is laced with the catchiness and warmth of The Kinks, and maybe a dash of Elephant 6. It's like an ADHD party and the listener is the first to arrive. New Excellent Woman is built from detritus, often quite literally: from the thrift store amplifiers and scavenged keyboards she uses to her penchant for discovering and sampling obscure YouTube videos into her songs. The thick fog of 'Bedsong' is made up of little more than a Hammond organ found on craigslist and a few muffled drums piled with rags; opener 'Ptolemy' uses a seemingly random video of teenage boredom as its textural and rhythmic backdrop. The ceaseless march of the modern world can feel both awe-inspiring and abysmal. New highways and condominiums are erected in a matter of weeks as historic burial grounds are demolished. Even short TikToks seem to expire in real time. Asher White won't change things, but New Excellent Woman gives one a fresh and poignant perspective of the shifting world around through her eyes -- and maybe a connection is the best one can hope for."
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BING 199LP
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LP version. "Tiny Ruins, the project of New Zealand musician Hollie Fullbrook, are back with their fourth album, Ceremony, out on Ba Da Bing Records. The follow-up to 2019's celebrated Olympic Girls, Ceremony goes deep into all the old and murky mysteries of what it means to be human -- and sometimes it nearly goes under. Yet these songs also show how one can find the strength to swim from the shipwreck, push through the silt, surface into another new morning -- another new chance. Ceremony washes in and takes one out like a strong tide, its songs 'chapters' of a saga set on the shores of Tāmaki Makaurau's (aka Auckland's) Manukau Harbour. Known to locals as 'Old Murky,' its western fringe of the Waitākere Ranges is home to Fullbrook. And while the harbor itself is a treacherous and oft-polluted body of water, move to one of its many peaceful inlets and it's all tidal flats, shellfish and birdlife. 'It's beautiful but also muddy, dirty and neglected. It's a real meeting of nature and humanity' says Hollie. The album's songs took shape as she explored the turbulent landscape on foot with her two dogs. The things Fullbrook was struck by there are annotated across Ceremony (cover art by Christiane Shortal) as luminously as a naturalist's scrapbook. After touring Olympic Girls both solo and with her long-term band line-up of Cass Basil (bass), Alex Freer (drums), and Tom Healy (electric guitar, producer) for eighteen months, Fullbrook returned home to the banks of Little Muddy Creek, exhausted and with the global pandemic looming. The songs that would become Ceremony existed as note files, 'scrappy poems,' words written earlier during a profound period of personal loss, words from a 'difficult place' that she'd become adept at avoiding. When lockdown started to ease, Fullbrook went to stay in an old train carriage in the town of Raglan and spent several days forging these hard lyrics into songs. The intuitive rapport of her bandmates steered these early demos in another direction, with inventive, often joyful arrangements that land Fullbrook's hard songs into a blissfully warm bedrock of sound -- steadied in a kind of musical trust fall."
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BING 190LP
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"The rawness of The Veils' Nux Vomica can be enjoyed to a degree never heard before, with Ba Da Bing's limited edition pressing of the records with the original mixes by Nick Rainey left intact. Originally released in 2006, The Veils sophomore album Nux Vomica was praised for its 'Herculean intensity' by The Guardian, and called 'a heady blast of gothic psychodrama' by The Observer, while Pitchfork praised leader Finn Andrews' 'magnetic, outsized persona.' Long out of print, the vinyl version was resuscitated by Music On Vinyl in 2017 and quickly sold out. Now, The Veils present the definitive version of their most heralded album to date, which dusts off the original mixes by legendary producer Nick Launay (Public Image Limited, The Birthday Party, INXS and Midnight Oil) and offers them to fans here for the first time. Taken from the original two-inch analog tape reels, each song was carefully remastered by Alex Wharton at Abbey Road Studios in London. Nux Vomica was the first of many creative reinventions for Andrews, who at 22 had already released an album on Rough Trade, moved from New Zealand to London to form a band, then back to New Zealand where he once again started the band anew. The creative progression is clear in Andrews' incisive lyricism and knack for hell-fire dramatics. All intentions to release this dark and raw set of recordings were dashed upon submission to Rough Trade for approval, who didn't like the results. They hired mixing engineer Bill Price to adjust the sound and add additional instrumentation. Launey's mixes were shelved and forgotten about, while the album nonetheless went on to be a critical highpoint for the band and is much loved to this day. To celebrate the release of The Veils' massive new double album, ?And Out Of The Void Came Love, Ba Da Bing is issuing a limited-to-1200-LPs simultaneous run of Nux Vomica in a form one has never heard before. The brilliance of Andrews' talents come through clearer in this version, which strips his songs to the core and allows the holes to show. Here's where the seeds of a lifelong artistic talent really began to first take root."
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BING 186CD
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"It's been seven strange years since The Veils' last studio album Total Depravity, and Finn Andrews has a new double album to show for it. ...And Out Of The Void Came Love is the result of this tumultuous period of injury, isolation and new life. Following the release of Total Depravity, Andrews released a solo album and began a worldwide tour. One night, while lashing out at a particularly intense moment on piano, he broke his wrist on stage. He played on and finished the rest of the tour, but it wasn't until he got it examined much later that he realized what a bad move that was. The convalescence that followed meant a lengthy hiatus from touring, so he did what he does best and stayed at home and wrote songs. Just when his hand had healed sufficiently for him to play again, The Veils found themselves in need of a new record label, but Finn set about starting to make a new record regardless. Producer Tom Healy invited Finn to his small studio underneath the old Crystal Palace ballroom in Mount Eden, and they listened through the legions of songs he had amassed throughout the previous year. Following another two years of intermittent recording between lockdowns, Finn's wife became pregnant, and yet more songs started coming. By the time the songs had been recorded, it was clear that arranging the album into two halves best suited such varied material -- but the meaning of the songs as a whole still eluded Andrews. The result of all these years of questioning, confinement and precarious uncertainty is this magnificent new double album. It is an album intended to be listened to in two sittings with a short break in the middle. Composer Victoria Kelly's soaring string arrangements play an integral role in bringing the songs to life, as do musicians Cass Basil (bass), Dan Raishbrook (lap steel, guitar), Liam Gerrard (piano), Joseph McCallum (drums), the NZTrio and special guests the Smoke Fairies on backing vocals. The Veils have toured consistently throughout their twenty-year history and garnered a formidable reputation as one of the world's greatest live bands. They have also been praised by film directors Paolo Sorrentino, Tim Burton and David Lynch who have all used their music on their soundtracks."
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BING 186LP
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Double LP version. "It's been seven strange years since The Veils' last studio album Total Depravity, and Finn Andrews has a new double album to show for it. ...And Out Of The Void Came Love is the result of this tumultuous period of injury, isolation and new life. Following the release of Total Depravity, Andrews released a solo album and began a worldwide tour. One night, while lashing out at a particularly intense moment on piano, he broke his wrist on stage. He played on and finished the rest of the tour, but it wasn't until he got it examined much later that he realized what a bad move that was. The convalescence that followed meant a lengthy hiatus from touring, so he did what he does best and stayed at home and wrote songs. Just when his hand had healed sufficiently for him to play again, The Veils found themselves in need of a new record label, but Finn set about starting to make a new record regardless. Producer Tom Healy invited Finn to his small studio underneath the old Crystal Palace ballroom in Mount Eden, and they listened through the legions of songs he had amassed throughout the previous year. Following another two years of intermittent recording between lockdowns, Finn's wife became pregnant, and yet more songs started coming. By the time the songs had been recorded, it was clear that arranging the album into two halves best suited such varied material -- but the meaning of the songs as a whole still eluded Andrews. The result of all these years of questioning, confinement and precarious uncertainty is this magnificent new double album. It is an album intended to be listened to in two sittings with a short break in the middle. Composer Victoria Kelly's soaring string arrangements play an integral role in bringing the songs to life, as do musicians Cass Basil (bass), Dan Raishbrook (lap steel, guitar), Liam Gerrard (piano), Joseph McCallum (drums), the NZTrio and special guests the Smoke Fairies on backing vocals. The Veils have toured consistently throughout their twenty-year history and garnered a formidable reputation as one of the world's greatest live bands. They have also been praised by film directors Paolo Sorrentino, Tim Burton and David Lynch who have all used their music on their soundtracks."
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BING 178CD
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"Eliza Bagg leads a complex musical life: working as a classical opera singer, she has soloed with the New York Philharmonic, performed in Meredith Monk's opera at the Los Angeles Philharmonic, and toured Europe with the legendary John Zorn. While making her own music under the guise of art-pop solo act Lisel, she's also collaborated as a vocalist with some of the most renowned experimental artists, including Ben Frost, Julianna Barwick, Daniel Wohl, and many others, all while playing indie rock venues and lovably dingy basements. One day, it's Lincoln Center or The Kitchen, the next it's an outdoor LA ambient series. She was always torn between her two worlds, and it wasn't until she began work on Patterns For Auto-Tuned Voices And Delay that she discovered a way to merge them together. Patterns comes out of Bagg's experience as a vocalist singing Renaissance and Baroque music along with the work of modern-day minimalists like Steve Reich and Philip Glass. 'I developed a vocal processing system that allowed me to change the idea of what my instrument is,' Bagg says of the album's genesis, a system that combines her virtuosic singing with autotune and delay effects to create a melding of human and machine. Sure, she'll admit it. 'I'm a sci-fi nerd,' she says, with a laugh. 'I'm a Blade Runner and Battlestar person. I love things that explore how society interacts with machines.' While making Patterns, she dove first into Renaissance polyphony and chant. The music of Hildegard von Bingen, Thomas Tallis, and Carlo Gesualdo is a familiar world to her. Starting with Renaissance and Medieval singing styles and idioms, she added processing and electronic world-building to bring out new, expressive qualities of those styles. From there, she improvised in these styles, fed the performances into Ableton, and incorporated modern day hyperpop (like SOPHIE) and ambient electric sounds and aesthetics. From Philip Glass to Charli XCX, Carl Stone to Grimes, Patterns makes radical connections. Yet, it was important for Bagg to maintain the spiritual origins of these vocal techniques. Patterns For Auto-Tuned Voices And Delay stands within those traditions, using voices to transcend the cerebral and overwhelm the listener, all while evoking a unique set of references that span five hundred years."
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