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LP
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THRILL 655LP
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$27.00
PREORDER
RELEASE DATE: 6/12/2026
"Cloud Machines is the extraordinary debut collaboration between M.C. Schmidt of legendary electronic duo Matmos and John Berndt, the Baltimore avant-garde institution and band leader behind High Zero Festival, the Red Room collective, Geodesic Gnome, and radical sonic concepts like Spectral Relay (a bespoke signal processing architecture) and Relabi (a conceptual genre defined by a Rorschach-blot pulse.) These two iconoclasts have delivered something genuinely unexpected: an oddly sweet electronic opus that's as immediately engaging as it is a series of delicious puzzles. When two of experimental music's most irascible characters spend twelve years crafting an album, you don't just get another release -- it is an anthology of pocket universes. The record is a love letter to two of their strongest mutual influences of the 1980s -- the delirious comic books of French auteur Jean Giraud (AKA Moebius) and the beautiful miniatures of the SKY Records Cluster/Eno/Conny Plank collaborations. Cloud Machines honors the spirit of those ineffably 'hermetic' creations by reinventing their legacy through the lens of decades of accumulated experimental practice and the duo's singular creative personalities. The result feels simultaneously like rediscovering a lost classic from 1978 and receiving a transmission from an alternate, somehow better timeline in 2026. Yet unlike so much 'difficult' experimental music, Cloud Machines maintains an uncanny and sneaky accessibility -- each track a self-contained world, inviting and alien in equal measure. It's not always a two-man show. On side one, 'The Analysis of Joel' refracts the prepared guitar playing of Joel Knispel into eerie shards as M.C. Schmidt counters with processed fragments of the music of Polish electroacoustic composer Bogusław Schaeffer. John Berndt takes a solo on the mysteriously poised synthesizer etude 'The Balcony.' Side two features the largest ensemble piece, 'Gecko Lazzaro' a slow-burning sinuous bassline groove featuring the trombone playing of Baltimore improviser Patrick Crossland and a suitably fried guitar solo from Owen Gardner (lead guitarist of Berlin-by-way-of-Baltimore out rockers Horse Lords). Like a kaleidoscope turning slowly towards and away from different light sources, genres and traditions seem to emerge from the haze and pull into focus and then melt away again, but never constrain the constant sense of exploratory forward movement."
"For three decades now Daniel and Schmidt have found gaps where experimental approaches and sources can leak into music that could be played in a club or on the radio, showing that stretching the Overton window of musical sounds doesn't have to be restricted to rarefied settings." -The Quietus
"One can't help but be in awe of the production mastery on display and the confidence with which Matmos have turned a man's creative remains into a freshly expressive musical instrument." - The Wire
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LP
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THRILL 655X-LP
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$27.00
PREORDER
RELEASE DATE: 6/12/2026
Egg yolk yellow color vinyl version. "Cloud Machines is the extraordinary debut collaboration between M.C. Schmidt of legendary electronic duo Matmos and John Berndt, the Baltimore avant-garde institution and band leader behind High Zero Festival, the Red Room collective, Geodesic Gnome, and radical sonic concepts like Spectral Relay (a bespoke signal processing architecture) and Relabi (a conceptual genre defined by a Rorschach-blot pulse.) These two iconoclasts have delivered something genuinely unexpected: an oddly sweet electronic opus that's as immediately engaging as it is a series of delicious puzzles. When two of experimental music's most irascible characters spend twelve years crafting an album, you don't just get another release -- it is an anthology of pocket universes. The record is a love letter to two of their strongest mutual influences of the 1980s -- the delirious comic books of French auteur Jean Giraud (AKA Moebius) and the beautiful miniatures of the SKY Records Cluster/Eno/Conny Plank collaborations. Cloud Machines honors the spirit of those ineffably 'hermetic' creations by reinventing their legacy through the lens of decades of accumulated experimental practice and the duo's singular creative personalities. The result feels simultaneously like rediscovering a lost classic from 1978 and receiving a transmission from an alternate, somehow better timeline in 2026. Yet unlike so much 'difficult' experimental music, Cloud Machines maintains an uncanny and sneaky accessibility -- each track a self-contained world, inviting and alien in equal measure. It's not always a two-man show. On side one, 'The Analysis of Joel' refracts the prepared guitar playing of Joel Knispel into eerie shards as M.C. Schmidt counters with processed fragments of the music of Polish electroacoustic composer Bogusław Schaeffer. John Berndt takes a solo on the mysteriously poised synthesizer etude 'The Balcony.' Side two features the largest ensemble piece, 'Gecko Lazzaro' a slow-burning sinuous bassline groove featuring the trombone playing of Baltimore improviser Patrick Crossland and a suitably fried guitar solo from Owen Gardner (lead guitarist of Berlin-by-way-of-Baltimore out rockers Horse Lords). Like a kaleidoscope turning slowly towards and away from different light sources, genres and traditions seem to emerge from the haze and pull into focus and then melt away again, but never constrain the constant sense of exploratory forward movement."
"For three decades now Daniel and Schmidt have found gaps where experimental approaches and sources can leak into music that could be played in a club or on the radio, showing that stretching the Overton window of musical sounds doesn't have to be restricted to rarefied settings." -The Quietus
"One can't help but be in awe of the production mastery on display and the confidence with which Matmos have turned a man's creative remains into a freshly expressive musical instrument." - The Wire
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CD
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THRILL 653CD
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$14.50
PREORDER
RELEASE DATE: 6/12/2026
"The work of BIG|BRAVE is ever-expanding. The trio's singular masterful sculpting of sonics into songcraft tucks layers of vulnerability into frenetic storms. in grief or in hope is an innovative vision of electro-acoustic sound and emotive storytelling, an endless bounty of overwhelming distortions and devastating beauty. The album marks a shift for BIG|BRAVE towards denser guitar-oriented compositions. With longtime touring bassist Liam Andrews (MY DISCO, Aicher) joining guitarist/vocalist Robin Wattie and guitarist Mathieu Ball in the studio for the first time, the pieces are keenly layered with a rich tapestry of harmonics and tonal intricacies. The trio's instinctual progressions made more vivid through live recording, harnessing the gargantuan and storied sound of their performances. Wattie writes: 'All that I could reflect on was grief and hope; death and life; cause and effect; shared experiences of being a human person.' The tenth album for the ensemble, in grief or in hope pays homage to their past while looking into their future. Standout 'the ineptitude for mutual discernment' expands on lyrical themes first explored on 2015's Au De La where 'verdure' echoes melodies from the title track of 2014's Feral Verdure. These references to their past serve as potent reflections on BIG|BRAVE's evolution as artists. A sonic whirlpool of string instruments surround Wattie's commanding vocals as she shifts from spectral undulations on pieces like 'what may be the kindest way to leave' to the direct, spare declarations of the title track. The ambiguity of mountainous chords on 'an uttering of antipathy' are coupled with autotuned phrases emphasizing the protagonists' isolation inside the fray. Together the trio shift to deliver emotional momentum that vividly describes the complex and deep feelings of struggle, pain, and transcendence. in grief or in hope transmits that sense of humanity with every gesture."
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Artist |
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LP
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THRILL 653LP
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$25.00
PREORDER
RELEASE DATE: 6/12/2026
LP version. "The work of BIG|BRAVE is ever-expanding. The trio's singular masterful sculpting of sonics into songcraft tucks layers of vulnerability into frenetic storms. in grief or in hope is an innovative vision of electro-acoustic sound and emotive storytelling, an endless bounty of overwhelming distortions and devastating beauty. The album marks a shift for BIG|BRAVE towards denser guitar-oriented compositions. With longtime touring bassist Liam Andrews (MY DISCO, Aicher) joining guitarist/vocalist Robin Wattie and guitarist Mathieu Ball in the studio for the first time, the pieces are keenly layered with a rich tapestry of harmonics and tonal intricacies. The trio's instinctual progressions made more vivid through live recording, harnessing the gargantuan and storied sound of their performances. Wattie writes: 'All that I could reflect on was grief and hope; death and life; cause and effect; shared experiences of being a human person.' The tenth album for the ensemble, in grief or in hope pays homage to their past while looking into their future. Standout 'the ineptitude for mutual discernment' expands on lyrical themes first explored on 2015's Au De La where 'verdure' echoes melodies from the title track of 2014's Feral Verdure. These references to their past serve as potent reflections on BIG|BRAVE's evolution as artists. A sonic whirlpool of string instruments surround Wattie's commanding vocals as she shifts from spectral undulations on pieces like 'what may be the kindest way to leave' to the direct, spare declarations of the title track. The ambiguity of mountainous chords on 'an uttering of antipathy' are coupled with autotuned phrases emphasizing the protagonists' isolation inside the fray. Together the trio shift to deliver emotional momentum that vividly describes the complex and deep feelings of struggle, pain, and transcendence. in grief or in hope transmits that sense of humanity with every gesture."
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Artist |
Title |
Format |
Label |
Catalog # |
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LP
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THRILL 653X-LP
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$27.00
PREORDER
RELEASE DATE: 6/12/2026
LP version. Clear pink color vinyl. "The work of BIG|BRAVE is ever-expanding. The trio's singular masterful sculpting of sonics into songcraft tucks layers of vulnerability into frenetic storms. in grief or in hope is an innovative vision of electro-acoustic sound and emotive storytelling, an endless bounty of overwhelming distortions and devastating beauty. The album marks a shift for BIG|BRAVE towards denser guitar-oriented compositions. With longtime touring bassist Liam Andrews (MY DISCO, Aicher) joining guitarist/vocalist Robin Wattie and guitarist Mathieu Ball in the studio for the first time, the pieces are keenly layered with a rich tapestry of harmonics and tonal intricacies. The trio's instinctual progressions made more vivid through live recording, harnessing the gargantuan and storied sound of their performances. Wattie writes: 'All that I could reflect on was grief and hope; death and life; cause and effect; shared experiences of being a human person.' The tenth album for the ensemble, in grief or in hope pays homage to their past while looking into their future. Standout 'the ineptitude for mutual discernment' expands on lyrical themes first explored on 2015's Au De La where 'verdure' echoes melodies from the title track of 2014's Feral Verdure. These references to their past serve as potent reflections on BIG|BRAVE's evolution as artists. A sonic whirlpool of string instruments surround Wattie's commanding vocals as she shifts from spectral undulations on pieces like 'what may be the kindest way to leave' to the direct, spare declarations of the title track. The ambiguity of mountainous chords on 'an uttering of antipathy' are coupled with autotuned phrases emphasizing the protagonists' isolation inside the fray. Together the trio shift to deliver emotional momentum that vividly describes the complex and deep feelings of struggle, pain, and transcendence. in grief or in hope transmits that sense of humanity with every gesture."
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LP
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THRILL 501Y-LP
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$27.00
PREORDER
RELEASE DATE: 5/22/2026
Color vinyl. "Legendary band Lightning Bolt's Wonderful Rainbow is one of the most quintessential albums to come from the underground in the last 20 years. Included in lists like Pitchfork's '200 top albums of the 2000s' and the book 1001 Albums You Must Hear Before You Die, Lightning Bolt's seminal record solidified their place as pillars of the underground community. Wonderful Rainbow saw the duo of Brian Chippendale (drums/vocals) and Brian Gibson (bass) being compared to the likes of Slayer, Ornette Coleman, and early Boredoms, and captured the bristling, immeasurable energy of their mythical live shows, which continue to astonish audiences today. The album's now iconic artwork (drawn by Chippendale) mirrors the music's curious and exhilarating blend of chaos, noise, intense beauty, and childlike wonderment. Lightning Bolt paved the way for countless artists who followed them, cracking the noise-rock and underground scenes wide open with an album as frenetic and violent as it is overflowing with joyful abandon."
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CD
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THRILL 657CD
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$14.50
PREORDER
RELEASE DATE: 5/22/2026
"Magic Tuber Stringband act in communion with the natural world around them. Highly skilled players and writers, the trio are leaders within the burgeoning avant-folk world. Growing up in Appalachia studying the folk traditions of the region in tandem scientific and observational work in nature, their music appears to weave in and out of the fabric of the landscape. The ensemble continues to stretch the parameters of acoustic instrumental expression with masterful flourishes of dense, textural arrangements, subtle minimalist gestures and deft improvisation. Heavy Water addresses the impact of nuclear production on the environment and the communities within, a musical evocation of destruction and resilience, an embrace of dissonance and tension within moments of transcendence. The inspiration for Heavy Water is rooted in fiddler Courtney Werner's work as an ecologist in rural South Carolina. Werner explains: 'The town of Ellenton, South Carolina was the largest of the towns displaced in 1952 by the U.S. federal government to build the Savannah River Plant, which produced radioactive materials for U.S. nuclear weapons during the Cold War. The former site of Ellenton was dedicated to the extraction of 'heavy water,' whereas other areas of the plant focused on manufacturing weapons-grade plutonium and tritium within nuclear reactors. Heavy water is chemically altered to be denser than normal water and is incredibly expensive and time-consuming to synthesize, requiring 52 gallons of river water to produce one fluid ounce. Its denser properties made it valuable for use within the nuclear reactors on the site.' The pieces of Heavy Water address the loss of community and untold ecological fallout of invasive, irreversible actions. A verdant countryside often mythologized in American vernacular as a respite or refuge in reality is forever tainted, a dynamic whose emotional impact is captured in the compositions."
"While it's easy to peg their influences, the band's lively performances and ear for rich sonorities affirm that Weird America is in good hands." - The Wire
"North Carolina's Magic Tuber Stringband have emerged as a force in the realm of traditional Appalachian folk music. Fiddler Courtney Werner and 12-string guitarist Evan Morgan create music that drones back through the centuries but feels current and alive." - Stereogum
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Artist |
Title |
Format |
Label |
Catalog # |
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LP
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THRILL 657LP
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$25.00
PREORDER
RELEASE DATE: 5/22/2026
LP version. "Magic Tuber Stringband act in communion with the natural world around them. Highly skilled players and writers, the trio are leaders within the burgeoning avant-folk world. Growing up in Appalachia studying the folk traditions of the region in tandem scientific and observational work in nature, their music appears to weave in and out of the fabric of the landscape. The ensemble continues to stretch the parameters of acoustic instrumental expression with masterful flourishes of dense, textural arrangements, subtle minimalist gestures and deft improvisation. Heavy Water addresses the impact of nuclear production on the environment and the communities within, a musical evocation of destruction and resilience, an embrace of dissonance and tension within moments of transcendence. The inspiration for Heavy Water is rooted in fiddler Courtney Werner's work as an ecologist in rural South Carolina. Werner explains: 'The town of Ellenton, South Carolina was the largest of the towns displaced in 1952 by the U.S. federal government to build the Savannah River Plant, which produced radioactive materials for U.S. nuclear weapons during the Cold War. The former site of Ellenton was dedicated to the extraction of 'heavy water,' whereas other areas of the plant focused on manufacturing weapons-grade plutonium and tritium within nuclear reactors. Heavy water is chemically altered to be denser than normal water and is incredibly expensive and time-consuming to synthesize, requiring 52 gallons of river water to produce one fluid ounce. Its denser properties made it valuable for use within the nuclear reactors on the site.' The pieces of Heavy Water address the loss of community and untold ecological fallout of invasive, irreversible actions. A verdant countryside often mythologized in American vernacular as a respite or refuge in reality is forever tainted, a dynamic whose emotional impact is captured in the compositions."
"While it's easy to peg their influences, the band's lively performances and ear for rich sonorities affirm that Weird America is in good hands." - The Wire
"North Carolina's Magic Tuber Stringband have emerged as a force in the realm of traditional Appalachian folk music. Fiddler Courtney Werner and 12-string guitarist Evan Morgan create music that drones back through the centuries but feels current and alive." - Stereogum
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Artist |
Title |
Format |
Label |
Catalog # |
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LP
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THRILL 657X-LP
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$27.00
PREORDER
RELEASE DATE: 5/22/2026
LP version. Opaque turquoise color vinyl. "Magic Tuber Stringband act in communion with the natural world around them. Highly skilled players and writers, the trio are leaders within the burgeoning avant-folk world. Growing up in Appalachia studying the folk traditions of the region in tandem scientific and observational work in nature, their music appears to weave in and out of the fabric of the landscape. The ensemble continues to stretch the parameters of acoustic instrumental expression with masterful flourishes of dense, textural arrangements, subtle minimalist gestures and deft improvisation. Heavy Water addresses the impact of nuclear production on the environment and the communities within, a musical evocation of destruction and resilience, an embrace of dissonance and tension within moments of transcendence. The inspiration for Heavy Water is rooted in fiddler Courtney Werner's work as an ecologist in rural South Carolina. Werner explains: 'The town of Ellenton, South Carolina was the largest of the towns displaced in 1952 by the U.S. federal government to build the Savannah River Plant, which produced radioactive materials for U.S. nuclear weapons during the Cold War. The former site of Ellenton was dedicated to the extraction of 'heavy water,' whereas other areas of the plant focused on manufacturing weapons-grade plutonium and tritium within nuclear reactors. Heavy water is chemically altered to be denser than normal water and is incredibly expensive and time-consuming to synthesize, requiring 52 gallons of river water to produce one fluid ounce. Its denser properties made it valuable for use within the nuclear reactors on the site.' The pieces of Heavy Water address the loss of community and untold ecological fallout of invasive, irreversible actions. A verdant countryside often mythologized in American vernacular as a respite or refuge in reality is forever tainted, a dynamic whose emotional impact is captured in the compositions."
"While it's easy to peg their influences, the band's lively performances and ear for rich sonorities affirm that Weird America is in good hands." - The Wire
"North Carolina's Magic Tuber Stringband have emerged as a force in the realm of traditional Appalachian folk music. Fiddler Courtney Werner and 12-string guitarist Evan Morgan create music that drones back through the centuries but feels current and alive." - Stereogum
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CD
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THRILL 654CD
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$14.50
PREORDER
RELEASE DATE: 5/22/2026
CD comes with a 12-page color booklet with detailed track information, and extensive liner notes from Anderson. "Marisa Anderson's music transcends borders. The topography of her work interrogates the intersections of artistry and expression with form and tradition. A singular guitarist and voracious musical collaborator, Anderson crafts pieces bursting with equal parts reverence and curiosity, contouring familiar shapes into work that is wholly her own. Anderson has spent decades mining the veins of the complicated, interconnected American folk traditions she was steeped in from a young age, stretching beyond those traditions and incorporating the vocabulary and techniques of vernacular folk music from around the world into her work. Eschewing replication or revival, Anderson's music lives in conversation with tradition. The Anthology of UnAmerican Folk Music is drawn from nearly one thousand songs culled from the private record collection of the late Harry Smith. For this record, Anderson works on music from places that the United States has been in conflict with since 1970: Southeast Asia, the USSR and the Arabic and Islamic regions of the world. In Volume 1 Anderson presents her own deeply personal iterations of nine songs from the Anthology. Composed, transcribed and arranged through a process of trial and error, deep listening and research, Anderson charts a musical course from Afghanistan to Vietnam via Yemen, Cambodia and Turkmenistan. Interpretations of compositions from Pakistani qawwali and Syrian taqsim are played with Anderson's deft and practiced hands. Each piece on the album stands as a dialogue between Anderson and the original source recordings, refracted through the prism of her unique musical lens. Anderson's contribution to this dialogue ultimately invites the listener to join her in asking: 'Who are the people we've been told in our lifetimes are 'unamerican?'' What have we lost or been denied access to in the fallout from that label?"
"[A] musician working out emotions physically, instinctively, with her fingers on the strings." - The New York Times
"Folk guitar genius" - Stereogum
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Artist |
Title |
Format |
Label |
Catalog # |
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LP
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THRILL 654LP
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$27.00
PREORDER
RELEASE DATE: 5/22/2026
LP version. Comes with a full 12x12 4-page color booklet with detailed track information, and extensive liner notes from Anderson. "Marisa Anderson's music transcends borders. The topography of her work interrogates the intersections of artistry and expression with form and tradition. A singular guitarist and voracious musical collaborator, Anderson crafts pieces bursting with equal parts reverence and curiosity, contouring familiar shapes into work that is wholly her own. Anderson has spent decades mining the veins of the complicated, interconnected American folk traditions she was steeped in from a young age, stretching beyond those traditions and incorporating the vocabulary and techniques of vernacular folk music from around the world into her work. Eschewing replication or revival, Anderson's music lives in conversation with tradition. The Anthology of UnAmerican Folk Music is drawn from nearly one thousand songs culled from the private record collection of the late Harry Smith. For this record, Anderson works on music from places that the United States has been in conflict with since 1970: Southeast Asia, the USSR and the Arabic and Islamic regions of the world. In Volume 1 Anderson presents her own deeply personal iterations of nine songs from the Anthology. Composed, transcribed and arranged through a process of trial and error, deep listening and research, Anderson charts a musical course from Afghanistan to Vietnam via Yemen, Cambodia and Turkmenistan. Interpretations of compositions from Pakistani qawwali and Syrian taqsim are played with Anderson's deft and practiced hands. Each piece on the album stands as a dialogue between Anderson and the original source recordings, refracted through the prism of her unique musical lens. Anderson's contribution to this dialogue ultimately invites the listener to join her in asking: 'Who are the people we've been told in our lifetimes are 'unamerican?'' What have we lost or been denied access to in the fallout from that label?"
"[A] musician working out emotions physically, instinctively, with her fingers on the strings." - The New York Times
"Folk guitar genius" - Stereogum
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LP
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THRILL 654X-LP
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$27.00
PREORDER
RELEASE DATE: 5/22/2026
LP version. Green color vinyl. Comes with a full 12x12 4-page color booklet with detailed track information, and extensive liner notes from Anderson. "Marisa Anderson's music transcends borders. The topography of her work interrogates the intersections of artistry and expression with form and tradition. A singular guitarist and voracious musical collaborator, Anderson crafts pieces bursting with equal parts reverence and curiosity, contouring familiar shapes into work that is wholly her own. Anderson has spent decades mining the veins of the complicated, interconnected American folk traditions she was steeped in from a young age, stretching beyond those traditions and incorporating the vocabulary and techniques of vernacular folk music from around the world into her work. Eschewing replication or revival, Anderson's music lives in conversation with tradition. The Anthology of UnAmerican Folk Music is drawn from nearly one thousand songs culled from the private record collection of the late Harry Smith. For this record, Anderson works on music from places that the United States has been in conflict with since 1970: Southeast Asia, the USSR and the Arabic and Islamic regions of the world. In Volume 1 Anderson presents her own deeply personal iterations of nine songs from the Anthology. Composed, transcribed and arranged through a process of trial and error, deep listening and research, Anderson charts a musical course from Afghanistan to Vietnam via Yemen, Cambodia and Turkmenistan. Interpretations of compositions from Pakistani qawwali and Syrian taqsim are played with Anderson's deft and practiced hands. Each piece on the album stands as a dialogue between Anderson and the original source recordings, refracted through the prism of her unique musical lens. Anderson's contribution to this dialogue ultimately invites the listener to join her in asking: 'Who are the people we've been told in our lifetimes are 'unamerican?'' What have we lost or been denied access to in the fallout from that label?"
"[A] musician working out emotions physically, instinctively, with her fingers on the strings." - The New York Times
"Folk guitar genius" - Stereogum
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CD
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THRILL 658CD
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"OOIOO and Lightning Bolt are both bands whose music is wholly unique and whose creators' influence would be impossible to overstate. YoshimiO, OOIOO's founder and bandleader, has been a guiding force in uncompromising art across the continuum of rock and improvised music for four decades, from her work in UFO or Die to The Boredoms to SAICOBAB and beyond. OOIOO serves as a core outlet for melding freeform experimentalism with hypnotic rock pulses, defying boundaries with her acrobatic voice, electronics, trumpet and gamelan. Lightning Bolt's Brian Chippendale and Brian Gibson have remained unparalleled in their ability to transmute frenetic whirls of percussion, gargantuan fuzz and dizzying melody into monolithic vistas. The Horizon Spirals/The Horizon Viral is a split that captures the parallels in ethos between these two ensembles, their sense of gleeful abandon and freight train momentum, in inspiring detail. 'The Horizon Spirals,' composed of OOIOO's gamelan-infused sagas 'The Horizon' and 'Gamel Be Sure To Spiral' demonstrates the boundless scope of OOIOO's music. Opener 'The Horizon' draws inspiration from Sun Ra Arkestra's 'Horizon,' bursting from oscillations into a syncopated groove before stretching out into up-tempo hypnotisms lead by YoshimiO's trumpet. Lightning Bolt's 'The Horizon Viral' evokes the limitlessness of their improvisations and distills through more sophisticated home recording techniques. 'The Horizon Viral' reignites the flame of their storied home recordings, capturing the duo in full freeform, bolstered from bassist Brian Gibson's experiences composing and recording soundtracks for video games he co-designed, Thrasher and Thumper. The five pieces that make up their side were arranged as a single suite, meant to be played all together, with movements like 'Wavers' and 'Cloud Core' showcasing how relentless the duo's energy remains. Throughout, Gibson's ability to conjure riffs that feel timeless is as potent as drummer Brian Chippendale's ability to propel them until their instruments become inextricably enmeshed. The Horizon Spirals/The Horizon Viral is a celebration of indomitable creativity. In their endless pursuit of crafting pure, uninhibited, enchanting art, OOIOO and Lightning Bolt continue to make astonishingly powerful, invigorating music."
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LP
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THRILL 658LP
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Gold vinyl version. "OOIOO and Lightning Bolt are both bands whose music is wholly unique and whose creators' influence would be impossible to overstate. YoshimiO, OOIOO's founder and bandleader, has been a guiding force in uncompromising art across the continuum of rock and improvised music for four decades, from her work in UFO or Die to The Boredoms to SAICOBAB and beyond. OOIOO serves as a core outlet for melding freeform experimentalism with hypnotic rock pulses, defying boundaries with her acrobatic voice, electronics, trumpet and gamelan. Lightning Bolt's Brian Chippendale and Brian Gibson have remained unparalleled in their ability to transmute frenetic whirls of percussion, gargantuan fuzz and dizzying melody into monolithic vistas. The Horizon Spirals/The Horizon Viral is a split that captures the parallels in ethos between these two ensembles, their sense of gleeful abandon and freight train momentum, in inspiring detail. 'The Horizon Spirals,' composed of OOIOO's gamelan-infused sagas 'The Horizon' and 'Gamel Be Sure To Spiral' demonstrates the boundless scope of OOIOO's music. Opener 'The Horizon' draws inspiration from Sun Ra Arkestra's 'Horizon,' bursting from oscillations into a syncopated groove before stretching out into up-tempo hypnotisms lead by YoshimiO's trumpet. Lightning Bolt's 'The Horizon Viral' evokes the limitlessness of their improvisations and distills through more sophisticated home recording techniques. 'The Horizon Viral' reignites the flame of their storied home recordings, capturing the duo in full freeform, bolstered from bassist Brian Gibson's experiences composing and recording soundtracks for video games he co-designed, Thrasher and Thumper. The five pieces that make up their side were arranged as a single suite, meant to be played all together, with movements like 'Wavers' and 'Cloud Core' showcasing how relentless the duo's energy remains. Throughout, Gibson's ability to conjure riffs that feel timeless is as potent as drummer Brian Chippendale's ability to propel them until their instruments become inextricably enmeshed. The Horizon Spirals/The Horizon Viral is a celebration of indomitable creativity. In their endless pursuit of crafting pure, uninhibited, enchanting art, OOIOO and Lightning Bolt continue to make astonishingly powerful, invigorating music."
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LP
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THRILL 658X-LP
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Silver vinyl version. "OOIOO and Lightning Bolt are both bands whose music is wholly unique and whose creators' influence would be impossible to overstate. YoshimiO, OOIOO's founder and bandleader, has been a guiding force in uncompromising art across the continuum of rock and improvised music for four decades, from her work in UFO or Die to The Boredoms to SAICOBAB and beyond. OOIOO serves as a core outlet for melding freeform experimentalism with hypnotic rock pulses, defying boundaries with her acrobatic voice, electronics, trumpet and gamelan. Lightning Bolt's Brian Chippendale and Brian Gibson have remained unparalleled in their ability to transmute frenetic whirls of percussion, gargantuan fuzz and dizzying melody into monolithic vistas. The Horizon Spirals/The Horizon Viral is a split that captures the parallels in ethos between these two ensembles, their sense of gleeful abandon and freight train momentum, in inspiring detail. 'The Horizon Spirals,' composed of OOIOO's gamelan-infused sagas 'The Horizon' and 'Gamel Be Sure To Spiral' demonstrates the boundless scope of OOIOO's music. Opener 'The Horizon' draws inspiration from Sun Ra Arkestra's 'Horizon,' bursting from oscillations into a syncopated groove before stretching out into up-tempo hypnotisms lead by YoshimiO's trumpet. Lightning Bolt's 'The Horizon Viral' evokes the limitlessness of their improvisations and distills through more sophisticated home recording techniques. 'The Horizon Viral' reignites the flame of their storied home recordings, capturing the duo in full freeform, bolstered from bassist Brian Gibson's experiences composing and recording soundtracks for video games he co-designed, Thrasher and Thumper. The five pieces that make up their side were arranged as a single suite, meant to be played all together, with movements like 'Wavers' and 'Cloud Core' showcasing how relentless the duo's energy remains. Throughout, Gibson's ability to conjure riffs that feel timeless is as potent as drummer Brian Chippendale's ability to propel them until their instruments become inextricably enmeshed. The Horizon Spirals/The Horizon Viral is a celebration of indomitable creativity. In their endless pursuit of crafting pure, uninhibited, enchanting art, OOIOO and Lightning Bolt continue to make astonishingly powerful, invigorating music."
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THRILL 647CD
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"The North Carolina trio Setting brings together their substantial collective skills as musicians and their collaborative mindset to bear in their inventive and rich improvisations. Known for work in Mind Over Mirrors, Califone, Black Twig Pickers, Pelt, Peeesseye, Sylvan Esso, and Jake Xerxes Fussell, multi- instrumentalists Jaime Fennelly, Nathan Bowles and Joe Westerlund subvert expectations while creating a sense of wonderment. Their intricate interplay of synthesizers, cassette loops, banjo, keyboards, electronics, zithers, and a litany of percussive instruments form a tactile amalgam of celestial transcendence and terrestrial rhythm, a loamy pulse fluidly guiding every minute fluctuation in feel. Setting's self-titled album is a definitive statement of their improvisational acumen meeting compositional rigor, a robust wellspring of hypnagogic grooves and mosaiced textures. Setting harnesses the euphoria of communal creation. 'This is one of the most joyous albums I've made with other musicians. It felt like we were all in the slipstream,' notes Fennelly. Bowles adds: 'Making this is maybe the easiest thing in my life; it's not struggle music. This collaboration feels like it's just coming out of the air, like it's breathing.' Fennelly's synth programming acts as a guiding light, bending pieces into dynamic arcs and imbuing them with swirling hues, while rhythmic push-and-pull between Westerlund and Bowles lends an elasticity to each track's warp and weft. Their working methods have found a kindred traveler in Adam McDaniel from Asheville's Drop of Sun Studios, whose engineering and production work forms an indispensable piece of the album's dynamism and luminescent fidelity. Across the five pieces, the trio make deft use of their seemingly infinite palettes to mold landscapes that appear familiar at first glance before glowing with vibrant new colors as the whole picture sets in. The eponymous album from Setting is the product of three intuitive players and deep listeners, artists who use those skills to create transformative music. The trio shirk any broader categorizations, as their unique dynamic pieces are alight with arrangements urgent and smoldering, patient and emotive."
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THRILL 647LP
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LP version. "The North Carolina trio Setting brings together their substantial collective skills as musicians and their collaborative mindset to bear in their inventive and rich improvisations. Known for work in Mind Over Mirrors, Califone, Black Twig Pickers, Pelt, Peeesseye, Sylvan Esso, and Jake Xerxes Fussell, multi- instrumentalists Jaime Fennelly, Nathan Bowles and Joe Westerlund subvert expectations while creating a sense of wonderment. Their intricate interplay of synthesizers, cassette loops, banjo, keyboards, electronics, zithers, and a litany of percussive instruments form a tactile amalgam of celestial transcendence and terrestrial rhythm, a loamy pulse fluidly guiding every minute fluctuation in feel. Setting's self-titled album is a definitive statement of their improvisational acumen meeting compositional rigor, a robust wellspring of hypnagogic grooves and mosaiced textures. Setting harnesses the euphoria of communal creation. 'This is one of the most joyous albums I've made with other musicians. It felt like we were all in the slipstream,' notes Fennelly. Bowles adds: 'Making this is maybe the easiest thing in my life; it's not struggle music. This collaboration feels like it's just coming out of the air, like it's breathing.' Fennelly's synth programming acts as a guiding light, bending pieces into dynamic arcs and imbuing them with swirling hues, while rhythmic push-and-pull between Westerlund and Bowles lends an elasticity to each track's warp and weft. Their working methods have found a kindred traveler in Adam McDaniel from Asheville's Drop of Sun Studios, whose engineering and production work forms an indispensable piece of the album's dynamism and luminescent fidelity. Across the five pieces, the trio make deft use of their seemingly infinite palettes to mold landscapes that appear familiar at first glance before glowing with vibrant new colors as the whole picture sets in. The eponymous album from Setting is the product of three intuitive players and deep listeners, artists who use those skills to create transformative music. The trio shirk any broader categorizations, as their unique dynamic pieces are alight with arrangements urgent and smoldering, patient and emotive."
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THRILL 647X-LP
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LP version. Maroon color vinyl. "The North Carolina trio Setting brings together their substantial collective skills as musicians and their collaborative mindset to bear in their inventive and rich improvisations. Known for work in Mind Over Mirrors, Califone, Black Twig Pickers, Pelt, Peeesseye, Sylvan Esso, and Jake Xerxes Fussell, multi- instrumentalists Jaime Fennelly, Nathan Bowles and Joe Westerlund subvert expectations while creating a sense of wonderment. Their intricate interplay of synthesizers, cassette loops, banjo, keyboards, electronics, zithers, and a litany of percussive instruments form a tactile amalgam of celestial transcendence and terrestrial rhythm, a loamy pulse fluidly guiding every minute fluctuation in feel. Setting's self-titled album is a definitive statement of their improvisational acumen meeting compositional rigor, a robust wellspring of hypnagogic grooves and mosaiced textures. Setting harnesses the euphoria of communal creation. 'This is one of the most joyous albums I've made with other musicians. It felt like we were all in the slipstream,' notes Fennelly. Bowles adds: 'Making this is maybe the easiest thing in my life; it's not struggle music. This collaboration feels like it's just coming out of the air, like it's breathing.' Fennelly's synth programming acts as a guiding light, bending pieces into dynamic arcs and imbuing them with swirling hues, while rhythmic push-and-pull between Westerlund and Bowles lends an elasticity to each track's warp and weft. Their working methods have found a kindred traveler in Adam McDaniel from Asheville's Drop of Sun Studios, whose engineering and production work forms an indispensable piece of the album's dynamism and luminescent fidelity. Across the five pieces, the trio make deft use of their seemingly infinite palettes to mold landscapes that appear familiar at first glance before glowing with vibrant new colors as the whole picture sets in. The eponymous album from Setting is the product of three intuitive players and deep listeners, artists who use those skills to create transformative music. The trio shirk any broader categorizations, as their unique dynamic pieces are alight with arrangements urgent and smoldering, patient and emotive."
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THRILL 652CD
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"The compositions of Colleen, aka multi-instrumentalist Cécile Schott, are as richly varied as they are precise. Each of Colleen's albums are shaped by her predetermined distinct instrumentation and parameters, including works composed entirely of music boxes, pocket synthesizers, and antiquated stringed instruments. The connective essence of Schott's music is in her ability to create pieces within this transcendent specificity that are both expansive and imbued with profound emotions. Libres antes del final is an album that reaches for the hope and desire to be truly freed from unnecessary suffering and harmful thoughts before reaching the end of one's life cycle. Schott composed and performed Libres on the Moog Matriarch, centering the record on a pulse-driven, bubbling energy with constant momentum. She then reamped the music in one of her favorite spaces in Barcelona, Casa Montjuic, accentuating the album's sense of movement. The reamping process adds a literal physicality to the album, as carefully chosen and placed microphones (including the famous Neumann KU100 binaural head) capture both the venue's PA sound itself and the venue's acoustics. Colleen's music translates snapshots of Schott's life into singular pieces, often instrumentally transmuting a dense web of sensations into wondrous sonic terrain. Schott's deft manipulation of the Moog Matriarch makes each subtle adjustment feel monumental. The tender 'Mis armas se habían caído al suelo' skitters sonar-like echoes across a warm pool of organ chords before giving in to a gentle wash of oceanic feedback. The bounce of 'Puertas de mi cuerpo' is transformed by every textural shift where the steady arpeggio of 'Antídoto' is broken apart by dizzying shifts in pulse. 'Aguas abiertas' (or, 'Open Waters') stands as the cinematic centerpiece to the album as each movement dives deeper beneath the surface and reflects the magic of discovering microcosms on every level one plunges further down. Title track 'Libres antes del final' harnesses the album's sense of urgency as the intensity swells and undulates into a climactic conclusion unlike any piece Schott has made before."
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THRILL 652LP
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LP version. "The compositions of Colleen, aka multi-instrumentalist Cécile Schott, are as richly varied as they are precise. Each of Colleen's albums are shaped by her predetermined distinct instrumentation and parameters, including works composed entirely of music boxes, pocket synthesizers, and antiquated stringed instruments. The connective essence of Schott's music is in her ability to create pieces within this transcendent specificity that are both expansive and imbued with profound emotions. Libres antes del final is an album that reaches for the hope and desire to be truly freed from unnecessary suffering and harmful thoughts before reaching the end of one's life cycle. Schott composed and performed Libres on the Moog Matriarch, centering the record on a pulse-driven, bubbling energy with constant momentum. She then reamped the music in one of her favorite spaces in Barcelona, Casa Montjuic, accentuating the album's sense of movement. The reamping process adds a literal physicality to the album, as carefully chosen and placed microphones (including the famous Neumann KU100 binaural head) capture both the venue's PA sound itself and the venue's acoustics. Colleen's music translates snapshots of Schott's life into singular pieces, often instrumentally transmuting a dense web of sensations into wondrous sonic terrain. Schott's deft manipulation of the Moog Matriarch makes each subtle adjustment feel monumental. The tender 'Mis armas se habían caído al suelo' skitters sonar-like echoes across a warm pool of organ chords before giving in to a gentle wash of oceanic feedback. The bounce of 'Puertas de mi cuerpo' is transformed by every textural shift where the steady arpeggio of 'Antídoto' is broken apart by dizzying shifts in pulse. 'Aguas abiertas' (or, 'Open Waters') stands as the cinematic centerpiece to the album as each movement dives deeper beneath the surface and reflects the magic of discovering microcosms on every level one plunges further down. Title track 'Libres antes del final' harnesses the album's sense of urgency as the intensity swells and undulates into a climactic conclusion unlike any piece Schott has made before."
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THRILL 652X-LP
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LP version. Cloud white color vinyl. "The compositions of Colleen, aka multi-instrumentalist Cécile Schott, are as richly varied as they are precise. Each of Colleen's albums are shaped by her predetermined distinct instrumentation and parameters, including works composed entirely of music boxes, pocket synthesizers, and antiquated stringed instruments. The connective essence of Schott's music is in her ability to create pieces within this transcendent specificity that are both expansive and imbued with profound emotions. Libres antes del final is an album that reaches for the hope and desire to be truly freed from unnecessary suffering and harmful thoughts before reaching the end of one's life cycle. Schott composed and performed Libres on the Moog Matriarch, centering the record on a pulse-driven, bubbling energy with constant momentum. She then reamped the music in one of her favorite spaces in Barcelona, Casa Montjuic, accentuating the album's sense of movement. The reamping process adds a literal physicality to the album, as carefully chosen and placed microphones (including the famous Neumann KU100 binaural head) capture both the venue's PA sound itself and the venue's acoustics. Colleen's music translates snapshots of Schott's life into singular pieces, often instrumentally transmuting a dense web of sensations into wondrous sonic terrain. Schott's deft manipulation of the Moog Matriarch makes each subtle adjustment feel monumental. The tender 'Mis armas se habían caído al suelo' skitters sonar-like echoes across a warm pool of organ chords before giving in to a gentle wash of oceanic feedback. The bounce of 'Puertas de mi cuerpo' is transformed by every textural shift where the steady arpeggio of 'Antídoto' is broken apart by dizzying shifts in pulse. 'Aguas abiertas' (or, 'Open Waters') stands as the cinematic centerpiece to the album as each movement dives deeper beneath the surface and reflects the magic of discovering microcosms on every level one plunges further down. Title track 'Libres antes del final' harnesses the album's sense of urgency as the intensity swells and undulates into a climactic conclusion unlike any piece Schott has made before."
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THRILL 648CD
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"more eaze is the moniker of Brooklyn-based composer, orchestrator, and multi-instrumentalist, mari maurice. A renowned collaborator both in performance and on recordings, maurice's own work is a fantasia, a reflection of her curious and explorative musical mind, encompassing entire spectrums of sound from a wide sonic pallet of electro-acoustic textures, folk traditions, and pop forms that pirouette into fully realized ecosystems. sentence structure in the country is a definitive statement of the matchless quality of more eaze's skill as player and musical thinker. The album relishes the ecstatic in performance and collaboration with an inviting wit and incisive compositions, imbuing tenderness, frustration, and joy into each passage. The title is an acknowledgement of the vernacular that shaped maurice's musical production. As Coltrane said, 'It all has to do with it.' maurice grew up playing fiddle in traditional folk and country tunes, and while playing on her album is entirely different, her reverence for the evolution of folk forms and her playing remain integral to those performances. Informing her production choices were maurice's well- chosen collaborators: Wendy Eisenberg on electric guitar, piano and voice, Henry Earnest on electric guitar, Alice Gerlach on cello, Jade Guterman on acoustic guitar, and Ryan Sawyer on drums. maurice explains how her collaborators helped sculpt the album's sound: 'There are ways Jade or Wendy choose to voice chords that are not how I'd play them in this context, but that's kind of the point. Their voices redefine what I'm making but also help me define my own.' sentence structure in the country is a collection of compositions, each beautifully realized, self-contained worlds. maurice's dexterous, tasteful arranging lays bare her influences and obsessive fascinations with remarkable congruency while foregoing any sense of indulgence. Her music holds a density not only in the lush compositions and embellishing flourishes, but also for those moments of spare, minimalist beauty. sentence structure in the country is a textural marvel, a mosaic of ethereal electronics and loamy acoustics sculpted around deeply moving, enduring songs."
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THRILL 648LP
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LP version. "more eaze is the moniker of Brooklyn-based composer, orchestrator, and multi-instrumentalist, mari maurice. A renowned collaborator both in performance and on recordings, maurice's own work is a fantasia, a reflection of her curious and explorative musical mind, encompassing entire spectrums of sound from a wide sonic pallet of electro-acoustic textures, folk traditions, and pop forms that pirouette into fully realized ecosystems. sentence structure in the country is a definitive statement of the matchless quality of more eaze's skill as player and musical thinker. The album relishes the ecstatic in performance and collaboration with an inviting wit and incisive compositions, imbuing tenderness, frustration, and joy into each passage. The title is an acknowledgement of the vernacular that shaped maurice's musical production. As Coltrane said, 'It all has to do with it.' maurice grew up playing fiddle in traditional folk and country tunes, and while playing on her album is entirely different, her reverence for the evolution of folk forms and her playing remain integral to those performances. Informing her production choices were maurice's well- chosen collaborators: Wendy Eisenberg on electric guitar, piano and voice, Henry Earnest on electric guitar, Alice Gerlach on cello, Jade Guterman on acoustic guitar, and Ryan Sawyer on drums. maurice explains how her collaborators helped sculpt the album's sound: 'There are ways Jade or Wendy choose to voice chords that are not how I'd play them in this context, but that's kind of the point. Their voices redefine what I'm making but also help me define my own.' sentence structure in the country is a collection of compositions, each beautifully realized, self-contained worlds. maurice's dexterous, tasteful arranging lays bare her influences and obsessive fascinations with remarkable congruency while foregoing any sense of indulgence. Her music holds a density not only in the lush compositions and embellishing flourishes, but also for those moments of spare, minimalist beauty. sentence structure in the country is a textural marvel, a mosaic of ethereal electronics and loamy acoustics sculpted around deeply moving, enduring songs."
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THRILL 648X-LP
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LP version. Opaque red color vinyl. "more eaze is the moniker of Brooklyn-based composer, orchestrator, and multi-instrumentalist, mari maurice. A renowned collaborator both in performance and on recordings, maurice's own work is a fantasia, a reflection of her curious and explorative musical mind, encompassing entire spectrums of sound from a wide sonic pallet of electro-acoustic textures, folk traditions, and pop forms that pirouette into fully realized ecosystems. sentence structure in the country is a definitive statement of the matchless quality of more eaze's skill as player and musical thinker. The album relishes the ecstatic in performance and collaboration with an inviting wit and incisive compositions, imbuing tenderness, frustration, and joy into each passage. The title is an acknowledgement of the vernacular that shaped maurice's musical production. As Coltrane said, 'It all has to do with it.' maurice grew up playing fiddle in traditional folk and country tunes, and while playing on her album is entirely different, her reverence for the evolution of folk forms and her playing remain integral to those performances. Informing her production choices were maurice's well- chosen collaborators: Wendy Eisenberg on electric guitar, piano and voice, Henry Earnest on electric guitar, Alice Gerlach on cello, Jade Guterman on acoustic guitar, and Ryan Sawyer on drums. maurice explains how her collaborators helped sculpt the album's sound: 'There are ways Jade or Wendy choose to voice chords that are not how I'd play them in this context, but that's kind of the point. Their voices redefine what I'm making but also help me define my own.' sentence structure in the country is a collection of compositions, each beautifully realized, self-contained worlds. maurice's dexterous, tasteful arranging lays bare her influences and obsessive fascinations with remarkable congruency while foregoing any sense of indulgence. Her music holds a density not only in the lush compositions and embellishing flourishes, but also for those moments of spare, minimalist beauty. sentence structure in the country is a textural marvel, a mosaic of ethereal electronics and loamy acoustics sculpted around deeply moving, enduring songs."
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THRILL 013X-LP
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2026 repress; white with black swirl color vinyl version. "Tortoise's self-titled debut incorporates many musical styles and influences and combines them into one very distance sound. So distinct that sometime after the release of this record they became recognized as the leaders of a new musical movement. Tortoise exploits the recording studio, in that they utilize the recording process as a compositional tool or 'sixth member,' thus creating a boundless parameter in which to create music. Recorded at Idful Studios by John McEntire."
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