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viewing 1 To 5 of 5 items
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LP
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BMR 135LP
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"While their first two releases (Prequel and Space Mirror) saw these veterans of post-punk, new psychedelic noise, and 1990s garage rock expertly navigate the murky waters of COVID isolation with yoga-worthy ambient excursions, on their third record the quartet slides into fifth gear and terraplanes toward a fresh take on instrumental prog-rock. It's not entirely unexpected, but there's rapid accelerated growth at play on Tabula Rasa. Infinite River is composed of Gretchen Gonzales (Universal Indians, Slumber Party, Terror At The Opera), Warren Defever (His Name Is Alive, ESP Beetles, Ethan Daniel Davidson), Joey Mazzola (Detroit Cobras, Sponge, Sugarcoats), and special guest drummer Steve Nistor (Sparks, Ural Thomas, Seedsmen To The World). These instrumental recordings were tracked between the end of 2022 and the start of 2023 in Warren Defever's new loft studio space in glorious Hamtramck, MI, where the sessions were supervised by Defever's cat, Brother James. 'My apartment is a big, echoey room; previously we were close together in a tight space,' Defever explains. 'The other studio is cozy; this is an art gallery. So it's a really different vibe.' Tabula Rasa is closer to what the band is like live now. It highlights the point at which new age type music can become biker rock -- which at times approximates Hawkwind or much German music from 1976, while rarely sounding like anything but itself. Tracks like 'Around The Sun' and 'Sky Diamonds' definitely have evolved out of the group playing new age type music together. But here, the melodies are more pronounced; the chords and harmonies are more like pop music. Drone-based elements remain, but the pieces are shorter and far more propulsive. 'Gonzales shows off her noise-guitar pedigree with both subtlety and aggression. Defever has largely ditched his tanpura for a bass synthesizer. It's a joy to hear Nistor, who's been a member of Sparks for close to two decades, open up, and just go gonzo on his kit. Mazzola's songwriting has followed suit; these are great (and often lovely) compositions here. And his practice in playing with the band, especially Nistor, allows Mazzola to open up new possibilities for downright prog than he's ever shown before."
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LP
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BMR 133LP
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"The band is comprised of four badasses of Michigan underground sound: Gretchen Gonzales (Universal Indians, Slumber Party, Terror At The Opera), Warren Defever (His Name Is Alive, ESP Beetles), Joey Mazzola (Detroit Cobras, Sponge, Sugarcoats), and special guest Steve Nistor (Sparks, Ural Thomas, Seedsmen To The World). The instrumental combo has already played in London, the Bay Area (where they accompanied some of Harry Smith's 'Early Abstraction' films), and to packed houses in Detroit. Their debut, Prequel (Birdman) released at the start of 2023, received many fine notices; this album was recorded at the same time and in the same home studio in Birmingham, Michigan. Space Mirror is so good. Each unnamed track flows into the next. It's subtle, often quiet, and beautiful, to be sure. But it's expansive and hard to pin down. Part of the reason is that the Michigan way is all-out. You can't get on the smallest stage here without fully committing. That's why we not only gave you the single best album of the peak rock era (rhymes with 'pun mouse'), but the mind-melding depths of Emeralds (to use two Ann Arbor reference points). This here is an Infinite River, after all: We have the perfectly crafted harmonic noise guitar stylings of Gretchen Gonzales. And the expert drone of Warren Defever on tambura and harmonium. Steve Nistor's percussion veers from imperceptible to all-encompassing. And Mazzola is such an adept stylist that it's easy to mistake his emotive slide guitar work here for a full-on pedal steel. Fans of Barry Walker, Jr. and Henry Flynt will find much to enjoy here. Everyone's seen that panel by now, multiple times, originally printed in late 1986 in the fourth issue of Alan Moore's Watchmen: A blue guy with a dot in his forehead sits on a boulder on the moon looking back at Earth, apparently exhausted. 'I am tired of Earth, these people. I am tired of being caught in the tangle of their lives,' the original caption states. And now with meme generators you can change it so it's about how you don't want to go to work, or something cool about capitalism, whatever. My setup here is that if that meme could talk (and we're not talking its excellent HBO adaptation), Space Mirror is exactly what the soundtrack would be. It's expansive, exquisitely rendered, and carries with it an unexpected emotional depth." --Mike McGonigal
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LP
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BMR 131LP
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2024 repress. "In the 1980s, Michael Morley helped to push the jangly New Zealand music scene towards rougher, more exploratory realms, as a member of Wreck Small Speakers on Expensive Stereos, The Weeds, and the almighty Dead C. His gnarled, distorted guitar tone and aggressively moan-based vocal style are both as distinctive as they are secretly beautiful. Morley has released dozens of solo recordings -- starting in the late 1980s as Gate, then more recently under his own name, and as the Righteous Yeah. He's also unafraid to tackle entirely new genres and sounds, and to move into interactive installation-based music as well. Birdman is beyond excited to present the first vinyl release of this archival Gate release." "... I think it is classic Gate material. The idea of the palette is fascinating as I think I did approach it with a set of limited instrumentation and the desire to make something again that could sound like rock music. There is certainly a direct line from Wreck Small Speakers On Expensive Stereos, through the Dead C, and to Gate. I think I was also inspired by listening to [infamous and tragically short-lived early 1980s band] the Double Happys, and remembering their performances as a duo with the drum machine. There was such utter chaos and anarchy during their sets, with a desire to represent punk rock at its nascent truth, I wanted to see if it was possible to re-imagine that feeling. I was possibly also listening to the Stooges and MC5." --Michael Morley
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LP
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BMR 129LP
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"Finally, we get some of the finest artistic results of the awful, forced hibernation zones we all were forced to bubble ourselves into during the COVID era. It [Infinite River's Prequel] sounds like the soundtrack to a space desert film you can't wait to watch. There are so many of the sounds you already like that might come from guitars and drone elements, but it's subtly put together here in ways that remove all sense of ego. These are sort of slowed-down post-rock songs, but it's not overly interested in math, and it is way too cosmic to be post-rock. Sorry we even said 'post-rock.' These perfect, first instrumental recordings here were made in a home studio in Birmingham, Michigan by three longtime friends and compatriots who were slowly starting to go nuts as lockdown started. Later, another friend shuttering in place in the U.P. added percussion elements. 'All our friends were doing yoga, so we made this yoga music for them,' Gretchen Davidson explains half-seriously. But this music contains multitudes. It exists in a curious space between improvised music and subtle songs that fall apart the closer you get to them. There is a lot of space in between these notes. No one will call this a 'Detroit supergroup,' and we implore you to follow suit. However, the group curiously brings together disparate yet friendly threads of the fertile Detroit underground: garage, weirdo indie, and the noise scene?from its very top practitioners, no less. Gretchen Davidson (Slumber Party, Terror At The Opera, Universal Indians), Warren Defever (ESP Beetles, His Name is Alive), special guest drummer Steve Nistor (Sparks, Ural Thomas, Seedsmen To The World), and Joey Mazzola (Detroit Cobras, Sponge, Sugarcoats) -- this combination is deeply unfuckwithable. We are so excited to release these recordings. This might be music that exists to bring back the chillout room at serious raves. Whatever its use, we all know that ex-hippies made the best postpunk; do ex-postpunks make the best neo-hippie music? That's a question perhaps only you can answer." --Mike McGonigal
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2LP
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BMR 127LP
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"The trance blues stylings of Otha Turner and his Rising Star Fife And Drum Band should be a music classification unto itself, a whole new primitive take on drum and bass. This music is the oldest still-practiced post-colonial American music, and Turner was one of its greatest artists of the 20th century. Blowing the cane fife with a band of drummers as back up, The Rising Star Fife And Drum band was legendary in the hills of Tate County, Mississippi, where they would perform during the yearly goat picnics on Turner's farm. These tracks were recorded by Luther Dickinson during such picnics and released when Turner was ninety years old. Everybody Hollerin' Goat shows firsthand the hypnotic and rhythmic style of fife and drum music at its best -- raw and beautiful. It is every bit as essential a document of America's folk-music heritage as anything Harry Smith or Alan Lomax ever offered up for posterity. Turner's band included some of his children and grandchildren that have gone on to continue the fife and drum tradition since his death in 2003. This first ever vinyl release of Everybody Hollerin' Goat contains a whole side of unreleased recordings from one night of the picnic and is intended to bring the experience of hollerin' for goat in Senatobia, Mississippi to the living room. Dancing around the plants is recommended (but don't eat the pickled eggs). The entire album is remastered by legend Gary Hobish." "One of the top five blues LPs from the 90s." --David Fricke, Rolling Stone
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