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viewing 1 To 8 of 8 items
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SPIRITUAL 029LP
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"In Season 5, the long-awaited fifth full-length by beach-pop project The Tyde, frontman Darren Rademaker unveils his vision of an '80s-inspired Suave Nouveau, with a clutch of sweet, melancholic love songs evoking lush mustaches, mellow macho, the ghost of Jimmy Buffett, white sand beaches, flamingos swooping across a cerulean sky, speedboats cutting through the bay and pastel linen suits billowing in the breeze as the sun dips beneath the horizon. Spanish conquistador Juan Ponce de León 'discovered' Florida in 1513, naming the peninsula La Florida, the flowering land. In Season 5, Rademaker reflects on his own return to the flowering land, and the artistic diaspora that caused him to quit California in 2020 in search of a New World of his own. 'I lived in Florida from the ages of ten to twenty-five, but never really got to explore it,' he says. 'When I came back, I decided to really embrace the whole Florida aesthetic. I moved into an art deco home in Sarasota with pink seashell lamps. I visited Key West, like seven times. I also quit smoking weed and cigarettes, and stopped saying shit like LOL and amazeballs. It felt different. It felt good.' The record features the talents of many good friends, including Dan Horne, Colby Buddelmeyer, Matt Correia (Allah-Las), Clay Finch (Mapache), Albert Hickman, Derek James (The Entrance Band), Alex Knost (Tomorrow's Tulips), and Adam MacDougall (Circles Around The Sun/Black Crowes), with artist/musician Matt Fishbeck (Holy Shit) designing the deco-inspired album artwork. And as much as they are inspired by the past, these songs are keenly aware of an uncertain future -- because there is no such thing as a time machine, and there is no going back. Ultimately, Season 5 asks the question -- where do we go after the sun sets on our dreams? Where the fuck is the New New World? In Rademaker's eyes, it no longer exists in any specific American geography -- rather, all hope remains in the timeless, unending power of music, and its power to take us to the places we wish we could be. Even if they don't exist anymore." --Caroline Ryder
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SPIRIT 030LP
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"Record producer and electric bassist Dan Horne returns to his Lone Palm a.k.a. Liberty Hair Farm studio in Echo Park, Los Angeles for the vinyl release of his debut full-length studio album, Count The Clouds. Recorded in 2020-2021 before his touring schedule kicked back into high gear with Circles Around the Sun and Grateful Shred, Horne unveils Count The Clouds, featuring eight songs with the multi-instrumentalist vibin' out on all the guitars, drums, pedal steel, and keys. A flashback to mid-1960s psychedelic folk, Count The Clouds includes special guests Ny Oh from Harry Styles' band, Raze Regal, and Frank LoCrasto. Horne is gaining recognition on the Echo Park scene as a producer at Lone Palm a.k.a. Liberty Hair Farm working with artists Mapache, Chapin Sisters, Pacific Range, Allah-Las, and others. On the national live music circuit, he's a founding member of Circles Around The Sun, the Dead tribute band Grateful Shred (who's selling out venues all across the country), and a key player with bandleaders Jonathan Wilson, Ben Kweller and Conor Oberst."
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SPIRITUAL 025LP
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"Driving up the coast highway from LA, once you hit Santa Barbara you are struck with a noticeable change in landscape. It is the gateway to the Central Coast, where the contours of the land begin to take on more dramatic inclines and feelings burn like wildfires. This was the childhood home of Lauren Barth, ranch-living and horseriding amongst the golden and dusty open ranges that still expand through parts of California. It is at these gates of change that Lauren Barth explores on Stormwaiting, her second solo effort and first on the Spiritual Pajamas label. Behind the musical landscape of Stormwaiting, Lauren drew from a backstory she created as inspiration. A young woman and spiritual leader of a commune, blind yet finds her way by a heightened sense of awareness, is caught between the physical world of 'Rialto' and the spiritual -- 'Morian.' 'Stormwaiting' is slang for living in Rialto and the storm is the tempest within Morian. The cult's most important message is one of Awareness. Like her protagonist, Lauren steps through these contemplations of change coming, treading one step at a time between the physical and spiritual realms, in a bittersweet anticipation of something upon us. Each song is like a deep breath in, an exhale, a pondering of the past and a wonder about the future with an acute awareness of each passing moment. Barth is a true seasoned folk music player, evoking the California folk movement of the late 1960s like David Crosby (who also hailed from the Santa Barbara area), while also calling upon British influences such as Bert Jansch, Incredible String Band, Fairport Convention, Nick Drake, and Pentangle, and the later American progressive folk music of Jeff Buckley, Joni Mitchell, and early Bonnie Raitt. In the time since her last solo record in 2017, she picked up the bass with Farmer Dave and the Wizards Of The West, and with her own music gained experience with the process of composing, recording, arranging, and ultimately the confidence to allow her creative instincts to flourish. She found the perfect partner with producer Lewis Pesacof, recording in his Echo Park home studio and has worked with artists such as Pearl Charles, Best Coast, Fidlar, and also works in the world of classical and world music. Tellingly, Stormwaiting has an expansive spirit, a document of a woman and creative spirit finding and embracing her voice beyond folk music and into her own spiritual universe." --Scary Flowers
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SPIRITUAL 026LP
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"It was never supposed to happen. No one was supposed to reimagine Terry Riley's A Rainbow In Curved Air -- a piece of music that, until now, has existed in its own class of expression. No one was supposed to scale the perilous heights of the citadel and come back with another document of the strange festival scenes within. With the release of Nico Georis's A Rainbow In Curved Air it's clear now that this piece of music is a place that you can go to, a kind of astral sanctum that can be visited again and again so long as you know the mysterious paths that lead to it. Doing away with the production tricks used on Riley's original recording (just intonation, mirror image delay, half-speed tracking of all lead parts) Nico Georis confronts the central seven time theme with a new transparency that gradually complexifies into astonishing Persian carpet displays of patterned musical awareness. This is music of the plenum and not the void: it is teeming with forms that behave in ways that recall descriptions of elaborately jeweled DMT hyperspace; sonic shapes that are driven by the pure uplift and force of infinite, unconstrained autotransformation. In this way it is similar to the original but the pace is way less manic, way more listenable as it rides forward on a calm surge of dazzling zero point energy. The three other songs on the record are Georis originals. 'Vapor' is a moment of twilight abstraction, a plant music duet that features Nico playing along with the plaintive washes of sound produced by a cannabis plant connected to a Plant Wave device. This song was composed spontaneously as it was broadcast live over Nico's Big Sur based pirate channel, Milky Way Radio. Side B contains two remarkable songs, 'Hot Slots' and '777', that are built mostly out of samples of slot machine sounds. They are both lush holograms of hallucinated beauty and convey something about the spirit of luck, abundance and possibility." --Matt Baldwin
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CD
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SPIRITUAL 024CD
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'Their second album, Skiff, is a new direction for The Skiffle Players. Now, they all sing and write. There is no leader. Recorded at Infinitespin Recorders in Van Nuys CA, with engineer Matt 'Linny' Linesch, the album begins with a bold opening; the Farmer Dave Scher-penned 'Cara', heavy information for the soul. Then, into classic Cass McCombs insanity on 'Local Boy,' a wild ride on the run from the cops. Third is a touching tribute to a bygone companion, 'Miss It When It's Gone,' written and led by Neal Casal. The album's revolving perspective continues to bounce around, leaving no apparent land to stand upon. In that, it is deeply subversive. For there is nothing to defend, but the ability to transform and imagine. The album continues to unfold back to McCombs with a satire on justice, 'The Law Offices Of Dewey, Cheatum And Howe.' It goes from the saloon 'Long Horns, Long Necks, Long Legs,' to the rainforest 'Herbamera.' Casal blasts in again with the sun-bleached rambler, 'Los Angeles Alleyway.' Scher's 'Skiffleman' sings a song for everyone. McCombs plays with memory in a song about coming of age in the Bay Area on 'Oakland Scottish Rite Temple Waltz.' Penultimately, 'Santa Fe' is an elliptical broadside about materialism and waste. The album concludes by pushing off again, out into the familiar waters of a traditional skiffle number, 'Sweet Georgia Brown,' each member taking a perhaps all-too casual solo. This is acoustic dance music at its finest. It is also refreshingly contradictory, irreverent and mystical, deeply personal and communal, and traditional and profane -- the ever revolving and disintegrating ship known as Skiff."
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SPIRITUAL 024LP
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LP version. 'Their second album, Skiff, is a new direction for The Skiffle Players. Now, they all sing and write. There is no leader. Recorded at Infinitespin Recorders in Van Nuys CA, with engineer Matt 'Linny' Linesch, the album begins with a bold opening; the Farmer Dave Scher-penned 'Cara', heavy information for the soul. Then, into classic Cass McCombs insanity on 'Local Boy,' a wild ride on the run from the cops. Third is a touching tribute to a bygone companion, 'Miss It When It's Gone,' written and led by Neal Casal. The album's revolving perspective continues to bounce around, leaving no apparent land to stand upon. In that, it is deeply subversive. For there is nothing to defend, but the ability to transform and imagine. The album continues to unfold back to McCombs with a satire on justice, 'The Law Offices Of Dewey, Cheatum And Howe.' It goes from the saloon 'Long Horns, Long Necks, Long Legs,' to the rainforest 'Herbamera.' Casal blasts in again with the sun-bleached rambler, 'Los Angeles Alleyway.' Scher's 'Skiffleman' sings a song for everyone. McCombs plays with memory in a song about coming of age in the Bay Area on 'Oakland Scottish Rite Temple Waltz.' Penultimately, 'Santa Fe' is an elliptical broadside about materialism and waste. The album concludes by pushing off again, out into the familiar waters of a traditional skiffle number, 'Sweet Georgia Brown,' each member taking a perhaps all-too casual solo. This is acoustic dance music at its finest. It is also refreshingly contradictory, irreverent and mystical, deeply personal and communal, and traditional and profane -- the ever revolving and disintegrating ship known as Skiff."
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CD
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SPIRITUAL 023CD
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"John Coltrane's 1965 magnum opus A Love Supreme is one of the most revered and influential recordings in the history of jazz, widely regarded as the iconic saxophonist's masterpiece. It might seem audacious at the very least to undertake a new recording of such a foundational album, but twin brothers Jared and Jonathan Mattson are nothing if not sonic risk-takers. With their new release Mattson 2 Play A Love Supreme, the duo reimagines Coltrane's avant-garde epic through a 21st-century lens, creating a new interpretation that remains faithful to the questing spirit of the original while pushing the music into bold new territory-- which itself is fully in keeping with the composer's forward-looking vision. The album translates the Coltrane Quartet's acoustic jazz explorations into a modern language swathed in a haze of analog synths, ecstatic guitars, transcendent grooves and enveloping atmospherics. The duo undertook an intensive study of the original composition, Coltrane's notes, and every available recording by the Coltrane Quartet as well as later versions by the likes of John McLaughlin, Branford Marsalis and Alice Coltrane. They used that vocabulary to create their own take, which they honed through invaluable live performances before audiences largely unfamiliar with the original. 'It was so incredible to see the way that a rock fans connected with the music,' Jonathan recalls. 'There was yelling and crying, people getting really stoked and devouring every note we were playing. Seeing people's minds getting blown by Coltrane's music, was an inspiration for us.' Those visceral reactions attest to the continuing impact of Coltrane's bold vision. This album channels that vision with both reverence and inventiveness, creating a vibrant and electrifying new interpretation that will resonate with new generations of open-minded listeners."
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SPIRITUAL 023LP
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LP version. "John Coltrane's 1965 magnum opus A Love Supreme is one of the most revered and influential recordings in the history of jazz, widely regarded as the iconic saxophonist's masterpiece. It might seem audacious at the very least to undertake a new recording of such a foundational album, but twin brothers Jared and Jonathan Mattson are nothing if not sonic risk-takers. With their new release Mattson 2 Play A Love Supreme, the duo reimagines Coltrane's avant-garde epic through a 21st-century lens, creating a new interpretation that remains faithful to the questing spirit of the original while pushing the music into bold new territory--which itself is fully in keeping with the composer's forward-looking vision. The album translates the Coltrane Quartet's acoustic jazz explorations into a modern language swathed in a haze of analog synths, ecstatic guitars, transcendent grooves and enveloping atmospherics. The duo undertook an intensive study of the original composition, Coltrane's notes, and every available recording by the Coltrane Quartet as well as later versions by the likes of John McLaughlin, Branford Marsalis and Alice Coltrane. They used that vocabulary to create their own take, which they honed through invaluable live performances before audiences largely unfamiliar with the original. 'It was so incredible to see the way that a rock fans connected with the music,' Jonathan recalls. 'There was yelling and crying, people getting really stoked and devouring every note we were playing. Seeing people's minds getting blown by Coltrane's music, was an inspiration for us.' Those visceral reactions attest to the continuing impact of Coltrane's bold vision. This album channels that vision with both reverence and inventiveness, creating a vibrant and electrifying new interpretation that will resonate with new generations of open-minded listeners."
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