|
|
|
|
viewing 1 To 7 of 7 items
|
|
|
|
|
|
|
|
|
|
|
|
LP
|
|
BBI 621LP
|
$30.50
PREORDER
RELEASE DATE: 10/17/2025
Brooklyn-based artists Leslie Graves and Toby Goodshank have joined creative forces on their album Between Worlds. Toby Goodshank (The Moldy Peaches, The Pizza Underground) of the OG New York Antifolk scene, is known for his precise and acrobatic vocals over nuanced acoustic guitar in songs that have been described as "a zesty thumb of the nose at domesticated bullshit." Leslie Graves (GOLD, Endless Arrows) is a performing songwriter and recording artist who takes folk subgenres into evocative and intriguing directions, including "sounding like something you could hear Donna Hayward dancing to at the Bang Bang Bar." Her voice has been described as "darkwave- meets-folk" with comparisons to Lana Del Rey, Cat Powers, Mazzy Star, and Julee Cruise. Acoustic guitar and vocal harmonies make up the core of their music. a slightly psychedelic, at times dream pop-like folkrock. It just draws from a variety of folk and rock. You might hear hints of Sybil Baer, Judee Sill, REM, Linda Perhacs, and Jessica Pratt, but the intersection of Toby and Leslie is truly a place of its own, warm and enchanting, or perhaps a glimmer from the spaces in between worlds. Many instrumental threads are interwoven throughout with the invaluable skills of Jake Nicoll (The Burning Hell) who lovingly engineered and embellished the recordings. Ariel Sharrat of The Burning Hell assisted him and is also featured on saxophone or bass or on some songs here. Speaking to their process, Leslie writes, "Toby is great at composing song structures quickly. It was fun to feel into the emotion of the chords and write from there. The process was like chiseling away at a stone to reveal the sculpture underneath. I like when songs come like that -- when it feels that they are teaching us as they are revealed."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
BBI 602CD
|
"The album started when I found myself caught between worlds. Stuck in Montréal, waiting for my paperwork to clear so I could return home to California after being forced by an emergency to travel to Europe during the pandemic travel ban, I was the sole occupant in an empty and closed-off hotel in the Jewish-Italian neighborhood of Mile End? That deep sense of longing was the spark that ignited this album, a journey that took years to write. By the time I felt ready to record, I had made it back home, married the love of my life, had the best tour of my career with The Portable Herman Dune, and was working towards permanent status in the U.S. I had also been improving my bluegrass mandolin skills, and life was finally looking up. But when I looked back at the songs, at the pain and relief of the journey, it felt like an Odyssey -- the greatest one of my life. That's when I decided to name the album Odysseús. That's when I met David Garza. It was pure chance -- I was struggling with a violin arrangement for one of the songs when he sat down at my table in a crowded café in downtown San Pedro and asked what I was working on. David, a Grammy-winning producer and musician, had worked with Fiona Apple, Iron & Wine, John C. Reilly, and The Milk Carton Kids, and had played with some of my musical heroes, like Lucinda Williams and Townes Van Zandt. We immediately clicked, and he offered to produce my songs. We began playing the tunes every evening at my house, and once a week at a French restaurant called Le Compagnon. David knew the best musicians in LA -- folks like Sebastian Steinberg on upright bass (Fiona Apple), Richard Edson (drummer for Sonic Youth, actor in Jim Jarmusch's Stranger Than Paradise and Spike Lee's Do The Right Thing), Odessa (violin, Edward Sharpe and the Magnetic Zeros), and Paul J. Cartwright (violin, Olivia Rodrigo). When we felt ready, we gathered everyone at my house for three days of live sessions. It was a chaotic, beautiful process, with everyone in the room playing together, no headphones, no overdubs -- just raw, real music. The sessions were recorded and mixed by Chris Sorem, a Grammy-winning producer known for his work with LA legends Los Lobos? The recordings were unfiltered, organic, and full of soul. By the time we started mixing, we were all amazed by how this music had come together, capturing a moment in time that also felt timeless." --David Ivar Herman Dune
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
BBI 601LP
|
LP version. "The album started when I found myself caught between worlds. Stuck in Montréal, waiting for my paperwork to clear so I could return home to California after being forced by an emergency to travel to Europe during the pandemic travel ban, I was the sole occupant in an empty and closed-off hotel in the Jewish-Italian neighborhood of Mile End? That deep sense of longing was the spark that ignited this album, a journey that took years to write. By the time I felt ready to record, I had made it back home, married the love of my life, had the best tour of my career with The Portable Herman Dune, and was working towards permanent status in the U.S. I had also been improving my bluegrass mandolin skills, and life was finally looking up. But when I looked back at the songs, at the pain and relief of the journey, it felt like an Odyssey -- the greatest one of my life. That's when I decided to name the album Odysseús. That's when I met David Garza. It was pure chance -- I was struggling with a violin arrangement for one of the songs when he sat down at my table in a crowded café in downtown San Pedro and asked what I was working on. David, a Grammy-winning producer and musician, had worked with Fiona Apple, Iron & Wine, John C. Reilly, and The Milk Carton Kids, and had played with some of my musical heroes, like Lucinda Williams and Townes Van Zandt. We immediately clicked, and he offered to produce my songs. We began playing the tunes every evening at my house, and once a week at a French restaurant called Le Compagnon. David knew the best musicians in LA -- folks like Sebastian Steinberg on upright bass (Fiona Apple), Richard Edson (drummer for Sonic Youth, actor in Jim Jarmusch's Stranger Than Paradise and Spike Lee's Do The Right Thing), Odessa (violin, Edward Sharpe and the Magnetic Zeros), and Paul J. Cartwright (violin, Olivia Rodrigo). When we felt ready, we gathered everyone at my house for three days of live sessions. It was a chaotic, beautiful process, with everyone in the room playing together, no headphones, no overdubs -- just raw, real music. The sessions were recorded and mixed by Chris Sorem, a Grammy-winning producer known for his work with LA legends Los Lobos? The recordings were unfiltered, organic, and full of soul. By the time we started mixing, we were all amazed by how this music had come together, capturing a moment in time that also felt timeless." --David Ivar Herman Dune
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
BBI 611LP
|
Swearing At Motorists has come a long way since its birth as a poster for a fake band in 1994. A few months after the posters mysteriously appeared in record stores and music venues around Dayton, Ohio, Dave Doughman jokingly scrawled the name on a cassette of home recordings that he gave to friends, and in 1995 the band was officially born. The late '90s found S@M releasing a slew of 7" EPs on different labels, and after getting repeated plays from John Peel and favorable press worldwide, the band landed a contract with the then new label Secretly Canadian. They released two EPs and 4 LPs on SC, including 2000's Number Seven Uptown and 2002's This Flag Signals Goodbye, both of which were named MOJO Magazine's "Underground Album of the Year" the years they were released. Swearing At Motorists relocated to Berlin, Germany in 2005, releasing their last LP for Secretly Canadian, Last Night Becomes This Morning the following year before quietly disappearing into the never-ending Berlin night. Eight years later, the band resurfaced in Hamburg, Germany, with a new album titled While Laughing, The Joker Tells The Truth, released Sept. 29, 2014 on Anton Newcombe's label A Recordings Ltd. But as this disappeared much like Swearing At Motorists once more and soon, it's time to reissue this.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
BBI 592CD
|
Back in 2017 The Sound Of Money, a band from the Munich pop underground, took the titles of their 12 favorite '60s albums as the DNA -- and gave the letters a good shake! Out came a batch of 12 new titles, for new songs. They wrote those songs, recorded them, and gathered them on the album More? Why Not! -- an anagrammatical exorcism of the '60s. Now, they have made a follow up, just with their favorite '70s albums, and what to say, it's topping the fun. A celebration of the album as a format, pop history and exchange. Here it is Two: Rhyme On - An Anagrammatical Exorcism Of The '70s. The band's list of favorite albums from that time ranges from Bowie to Chic, from Nico to Slits, from Bob Marley to Kraftwerk. And those Anagrams? Here's an example "The Rise and Fall of Ziggy Stardust and the Spiders from Mars" became "Dr. Dr. Themefart, Frustrating Himself, Posed as Gay Old Nazi SS." And the music, how does this sound? Just like the letters of the titles, the music and lyrics have been shaken up into a dazzling, grotesque kaleidoscope of classic '70s pop styles: agricultural p-funk, casino gospel disco, anti-pogo postpunk, home computer dub jazz, or the entire Bowie in three and a half minutes backwards.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
BBI 591LP
|
LP version. Back in 2017 The Sound Of Money, a band from the Munich pop underground, took the titles of their 12 favorite '60s albums as the DNA -- and gave the letters a good shake! Out came a batch of 12 new titles, for new songs. They wrote those songs, recorded them, and gathered them on the album More? Why Not! -- an anagrammatical exorcism of the '60s. Now, they have made a follow up, just with their favorite '70s albums, and what to say, it's topping the fun. A celebration of the album as a format, pop history and exchange. Here it is Two: Rhyme On - An Anagrammatical Exorcism Of The '70s. The band's list of favorite albums from that time ranges from Bowie to Chic, from Nico to Slits, from Bob Marley to Kraftwerk. And those Anagrams? Here's an example "The Rise and Fall of Ziggy Stardust and the Spiders from Mars" became "Dr. Dr. Themefart, Frustrating Himself, Posed as Gay Old Nazi SS." And the music, how does this sound? Just like the letters of the titles, the music and lyrics have been shaken up into a dazzling, grotesque kaleidoscope of classic '70s pop styles: agricultural p-funk, casino gospel disco, anti-pogo postpunk, home computer dub jazz, or the entire Bowie in three and a half minutes backwards.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
BBI 161LP
|
This album is a slow grower and even after ten years, this dark work by the New York duo still sounds fresh, is touching and overall astonishing. Originally released in 2014 through the BB*ISLAND label the long out-of-print vinyl is now reissued as a special limited edition. Pressed on "Sparkling Starlight" vinyl and housed in a deluxe cardboard jacket, it comes with a folded poster incl the lyrics and a postcard with a download code. The download includes the album tracks and an exclusive one-hour interview podcast with She Keeps Bees. Considering how controlled the chaos is on Eight Houses -- a record that's ruptured by riffs and rattled by rhythms without leaping straight off the rails -- it's tough to imagine a time when Jessica Larrabee and Andy LaPlant didn't finish each other's sentences, creatively and personally. But that's how She Keeps Bees began: with LaPlant bashing a borrowed kit (including a garbage-picked floor tom) atop a step-ladder and Larrabee directing the dark solo recordings she began soon after moving from Philadelphia to Brooklyn. That dynamic became more pronounced with each passing record, peaking with the self-produced songs of "Nests" and "Dig On," the latter of which expanded the pair's minimal sound with bass parts and synths. Now joined by an outside producer (Rare Book Room's Nicolas Vernhes) and guest musicians including Sharon Van Etten and Adam Schatz, She Keeps Bees revels in the raw power of subtlety, silence and space, coloring Larrabee's compositions with lean piano lines, hazy horns and warm organ rolls.
|
|
|
|