Category: artists

  • caleb dailey

    caleb dailey

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    Growing up in the Californian sprawl and the vast suburbs of Phoenix, Arizona, Caleb Dailey largely dismissed the country and western music that surrounded him. Instead, he was drawn to independent rock, experimental zones, and other genre-defying forms, which led him to create skewed rock music with Bear State and establish the “minimal art label” Moone Records with his brother Micah Dailey in 2013. But in the early half of the 2010s, Dailey began to hear things differently. Drawn into the left-of-center works of artists like Gram Parsons and Blaze Foley, a more idiosyncratic take on country, folk, and roots music began to swirl in his imagination.

    Wandering into the form’s cowboy chords and lonesome scenes, Dailey found himself wondering what his own country album might sound like. The result is his debut solo album, a collection of covers called Warm Evenings, Pale Mornings; Beside You Then. Produced by John Dieterich of Deerhoof, Keiko Beers, and Dailey himself, it’s a melancholy charmer, rooted in traditional ideas but free roaming in its scope. Laced with synths, pedal steel, acoustic guitars, and commanded by Dailey’s full and woozy voice, it owes as much to the busted waltzes of Lambchop and the homespun lo-fi folk of Little Wings (whose Kyle Field appears on the album via a spoken intermission) as it does to the songwriters and performers who provide its source material, which include Parsons, Foley, Elvis Presley associate Chips Moman, steel guitarist Buddy Emmons, and others.

    “The subversive nature of country music isn’t as much at the surface as some other genres,” Dailey says. “But the deeper down the ‘country hole’ I went, the more I wanted to be part of it. It is truly a strange world.”

    The hands of Dailey and his collaborators, which includes a wide roster of DIY experimentalists like James Fella of art punks Soft Shoulder, Jay Hufman (Gene Tripp), Lonna Kelley of Giant Sand, Japanese DIY hero’s Koji Shibuya and Tori Kudo, Nicholas Krgovich, Markus Acher of The Notwist, and more, that strangeness is accentuated. Dailey doesn’t aspire to retro Nashville fetishism or sanctioned notions of “realness” so much as a genuine outsider authenticity. Take his version of Gordon Lightfoot’s “If You Could Read My Mind” for example: a highlight of the record, it pairs familiar genre signifiers like pedal steel and guitar strums with warbled synths. Then there’s his read of “Dreaming My Dreams,” originally made famous by Waylon Jennings (who also did time in the Arizona desert), which morphs from a mournful ballad into a wash of far-off sonic noise.

    The attention here is on the songcraft itself, with Dailey inhabiting these songs and turning them inside out to reveal unexpected tenderness and playfulness.

    Recorded at home with an acoustic guitar and 4-track, Dailey began open correspondences with his collaborators, who fleshed out ideas and added touches, often working with skeletal frames before Dieterich and Dailey shaped it into a cohesive whole. “John is the reason this album exists,” Dailey says. “He sculpted all these parts together in such an otherworldly way. He is truly a magician.” Deeply allergic to insincerity, Dailey avoids any trace of irony. He’s created a cohesive gem out of disparate parts, uniting Americana songcraft with experimental disassemblage. From this bric-à-brac, he’s made something touching and beautifully strange.

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    “Warm Evenings, Pale Mornings: Beside You Then” by Caleb Dailey

    $28.00

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  • ever ending kicks

    ever ending kicks

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    Ever Ending Kicks is the solo project of Paul Frunzi (New Issue/Hungry Cloud Darkening) of Anacortes, Washington— a trodden and quaint island community basically absent from anything resembling a music scene. Trading manual labor for the time and the expertise of recordist Nicholas Wilbur (Angel Olsen, LAKE), Ever Ending Kicks offers a new album called Small, out March 11th. These 11 songs explore a faltering emotional path to forgiveness in a drawn out love triangle involving a mentor. The narrator struggles to escape a cartoonish and sticky anger— sometimes totally stepping in it, other times zooming out beyond the realm of individuality to get some relief from it.

    We find an uncharacteristically vulnerable Frunzi allowing sweet early influences like The American Analog Set, John Vanderslice, and Stereolab to come through in musical choices and moments, while also humbly channeling power from contemporary works like Lomelda’s “M” for Empathy, Tirzah’s Devotion, and Nicholas Krgovich’s “OUCH”.  At the same time, Small marks a return to the sparing yet impactful guitar/bass/piano/drum configurations familiar to longtime fans of EEK.

    On ’Wasabi’, soft distortion adds a pinch of salt to the sweetness of a lilting piano arpeggio and wood guitars played in unison by Paul and collaborator Eli Moore (LAKE). Tense strings played by Marit Schmidt (Cinderwell) jar listeners in ’Strangers’— a disillusioned tirade weighing close relationships against the low stakes surface level type. There’s freedom and playfulness in the futility of ‘Dilly Dally’, and the narrator finds some inspiration in a visit to his home state on ‘Arkansas’. But on ’Big’ we find our narrator slipping again, spinning his wheels on a petty dis track. When the old Hammond abruptly gives out with a crackle and goes quiet, the song takes a confessional turn. Paul’s love for those who he feels “wronged” him is the main feature of his pain, and that feels like a foothold.

    Finally, on ‘Epilogue’ a head-scratching Frunzi turns and addresses the audience directly: “I’d like to reflect on these new songs to provide some context”. This and similar wall-breaking choices throughout the album serve to strike a compromise between that evolved and lofty artwork every songwriter hopes to channel a heartbreak into, and the ugliness present in the reality fueling the hope. Which is to say Small, and all its small and big feelings, is allowed to exist in all its complexity and crudeness—more experience than product, more real than perfect.

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    “Small” by Ever Ending Kicks

    $26.00

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  • aaron m olson

    aaron m olson

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    Los Angeles musician and composer Aaron M Olson is releasing Songs Album on Moone Records. His matter-of-factly titled Songs Album is a more complex and ornate affair than its title belies – full of vibrant and lush hi-brow arrangements, reminiscent at times of the pop/rock outings of Jack Nitzsche or Jim O’Rourke, while recalling in glimpses the pastoral moodscapes of Robert Wyatt. As a student of composition (literally has a B.A. in classical music) and an astute listener, Olson’s approach to pop music is delicate, slow churning, and intelligently crafted, yet his results are undeniably scrappy. His intoxicating and woozy body of work leaves the listener in a haze as it hones in on often overlooked intricacies.

    Aaron’s earlier years were spent as the bassist in Chris Cohen and Nedelle Torrisi’s band Cryptacize, and he has gone on to accompany the likes of Tara Jane O’Neil, Chris Cohen, Papercuts, Bart Davenport, SK Kakraba Lobi, Nedelle Torrisi, The Lentils, Nicholas Krgovich, Vetiver and many others. While ingrained in the music of so many others, his solo catalog is equally expansive and versatile. He has released a string of incredibly cinematic synth and guitar-driven music under the moniker, L.A. Takedown (Castle Face, Ribbon Music). He also co-founded and plays in the Grateful Dead cover band, Richard Pictures, and its offshoot project Mountain Brews, performs and releases experimental work with his project, The Musical Tracing Ensemble, and composes for film, television, and other visual media. 

    Songs Album marks Aaron M Olson’s debut as a solo artist in the medium of sung songs, and while some familiar sounds and sensibilities of his oeuvre shine through, the album delivers something wholly new and exciting.

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    “Songs Album” by Aaron M Olson

    $10.00

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  • noise

    noise

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    For over four decades, Reiko Omura and Tori Kudo have endlessly woven themselves throughout the avant-garde and underground scene of Japan. While internationally appreciated in countless incarnations and contexts (Maher Shalal Hash Baz, Guys & Dolls), if one were to seek out an early moment in which the two artists created something truly awe inspiring, 1980’s Tenno would be it.

    As Noise, the duo experimented with the juxtaposition of Kudo’s extended organ based dirges (be they eerie and/or harmonious) and fragile, meditative harmonies found in Omura’s voice and more abstract moments of minimal trumpet, sparse drum and atonal guitar. Simultaneously tense and beautiful, echoes of Tenno can be found resonating in the work of their contemporaries and countless others spanning the past 40 years and an infinite amount more to come.

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  • niall breen

    niall breen

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    Niall Breen is an Irish cartoonist hailing from the small coastal seaport town, Sligo. He has heavily been involved in the indie comic community for years. Sharing hundreds if not thousands of comic strips across Tumblr and Instagram. Steadily finding himself a cult following devoted to his beloved character, Dog. It has now evolved into an unlikely family including Frog, Bear and Alien. 

    The true magic Niall possesses is in his ability to grapple with darker existential subjects within his sweet and simplistic visuals. The approachable imagery draws the reader into feeling the dull ache of life. Breen’s characters are stripped of age, gender and many human norms. This removal of excess, creates space for us to see ourselves in them. We then find ourselves inside the panels of the comic. Their heartache, joy and silliness suddenly becomes ours.

    Thank you Niall, for giving us all this gift.

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  • freelove fenner

    freelove fenner

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    Montreal art pop group Freelove Fenner will release their long-awaited album, The Punishment Zone, on Moone Records. The 14-song collection is an exercise in pleasing sounds, diaphanous textures, and concise song structure. The group listened to a century’s worth of experimental, often cacophonous sounds and reshaped it into a mellow pop music.

    The group’s workshop is the strictly analog Bottle Garden Studio, a small room full of tape machines and homemade equipment that is integral to the group’s sound and process. Avoiding 21st century technology not out of any sort of snobbery or nostalgia but rather a desire to avoid the work habits inherent with contemporary tools, the band embraces the different results that come with a slower, more tactile process: the happy accidents; the absence of visual stimuli (no screens); the difficulty in attaining high gloss finishes. 

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    “The Punishment Zone” by Freelove Fenner

    $20.00

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  • nicholas krgovich & friends

    nicholas krgovich & friends

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    Nicholas Krgovich is a songwriter and multi-instrumentalist hailing from Vancouver, Canada.  Described by the legendary Robert Wyatt as “quite beautiful, very touching… human.” he has been releasing records and performing since the early aughts, crafting sonically diverse albums under his own name and as a key member of the highly celebrated No Kids, P:ANO and Gigi. A string of chamber pop albums, girl-group inspired R&B, and in recent years other-worldly pop gems: Krgovich clearly draws from the well of Sade, Prefab Sprout and Stephen Sondheim, but in his commitment to exploring the vast world of pop music he has carved out a city of his own. They are formed within his intricate vocal melodies, lush orchestral arrangements, layers of analog synths, slinky guitars, tight rhythms and idiosyncratic yet honest lyricism. Hot on the heels of his latest collaborative LP with Joseph Shabason (Destroyer, War On Drugs), we are releasing a limited edition cassette of the incredible Pasadena Afternoon. An easy breezy album compiled solely of covers of his friends and collaborators (Dear Nora, Little Wings, Chris Cohen and more). The album was recorded in a day in Los Angeles last February, for fun and all for love.

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  • helvetia

    helvetia

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    In 2005 after the break up of legendary slow-core band, DUSTER, and throughout his tenure playing with BUILT TO SPILL over the past decade, HELVETIA has been the primary creative output of Jason Albertini.

    In January of 2020, Helvetia quietly uploaded a new album titled Fantastic Life to bandcamp. Their first new music since 2017’s Sunchaser EP. Albertini returned to his roots and recorded/produced this album entirely on a 4-track cassette recorder. Fantastic Life is a slow churning wave with bursts of agitated fits. The aesthetic feels as if it is cut from the same cloth as their 2007 album The Acrobats. Woozy off-kilter experimentation littered with moments of sweetness and pop gems. Albertini’s guitar playing and effortless vocal performances have always lived in another plain. Everything is loosely tied together but elegant. Even if everything fell apart, it would be embraced. Helvetia’s sincerity is unmistakable and unforced.

    In contrast to the album title and sonic emotion, the lyrical themes are dark and defeated. However, it feels as though he is at peace with the present. “What a fantastic life” Albertini repeats nonchalantly, but almost sarcastically while smirking, throughout the title track. As if to say, “Things are fucked, and will always be, but I really do love being alive.”

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    “Fantastic Life” by Helvetia

    $23.00

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  • caustics

    caustics

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    Caustics is Yasi Perera (Breezy Days Band/Park Details) on voice/electronics, Josiah Wolf (Why?) on drums/percussion, Devin Hoff (Julia Holter/Good for Cows) on acoustic and electric basses and John Dieterich (Deerhoof/Gorge Trio) on guitars/voice/electronics.  This unlikely assemblage of personalities (some of which had never met before the first session) was created as a vehicle for exploring a spontaneously and collectively invented ritual music, a conduit for the casting of spells.  Through the multiple recording sessions represented on Touch, the group turned the lights out and agreed to try to forget what music was in service to this simple idea.  Sounds bleed into each other, meeting in some unrecognizable space. Voices float in and out, emotive yet never quite intelligible.  Gestures are limited in breadth but achieve an otherworldly power in their simplicity.  The result is a claustrophobic miasma of disjointed electronics, pounded rhythms and trance-inducing swirls, honed razor sharp in its focus.  There is no pretense to preconceived ideas of musical sophistication or aspirations to virtuosity.  This, rather, is a group of fellow travelers rubbing stones together in order to generate a new kind of heat.

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    “Touch” by Caustics

    $10.00

    In stock

  • lithics

    lithics

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    Lithics is a four piece punk band from Portland, Oregon. Since their inception in 2014 they have crafted concise and sharp recordings for labels like Water Wing, Kill Rock Stars, and Thrilling Living. While avoiding the trappings of historical reenactment, Lithics remain solidly informed by the sounds and conceptual underpinnings of late 70’s post punk, as well as the obscure logic of proto art rockers Red Crayola and Captain Beefheart. The songs are composed of tightly wound bass lines perfectly in sync with unwavering/uncluttered drums, piercing duel guitar riffs, and singer Aubrey Hornor’s calm and disaffected vocal delivery.

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    “Wendy Kraemer EP” by Lithics

    $16.00

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