Фирма Captured Tracks

ДОБАВИТЬ В середине 1980-х, когда Линда Смит купила 4-х дорожечный кассетный магнитофон, она играла на гитаре в группе под названием The Woods и подумала, что это будет полезно для демонстрации демо-записей своим товарищам по группе. В конце концов, новое хобби последовало за ней из Нью-Йорка в ее родной Балтимор, и в течение следующего десятилетия она выпустила несколько альбомов, достойных нежной, завораживающей сольной музыки на кассете. Till An- Other Time: 1988–1996 - первая ретроспективная коллекция очаровательно Lo-Fi музыки Смита. Скудная и нежная, музыка Линды окрашена меланхолией влюбленных, несмотря на сладость ее голоса. Популярная мелодия старше 60-х годов умирает на таких треках, как «Крошка твоей привязанности», она дает наблюдения с искренней мягкостью. В другом месте ее голос приобретает невозмутимый вид пост-панка, как в "I See Your Face". Эффект обоих режимов - завораживающее очарование, одинаково напоминающее ранние Cherry Red Records и Йе-Йе 60-х.

Beach Fossils - американская инди-рок-группа из Бруклина, штат Нью-Йорк, образованная в 2009 году.

Все согласны с тем, что "Wax Chattels" Новой Зеландии - это концерт, который нельзя не посетить; их гипнотически зловещий дебют прекрасно передал это. Выпущенный в 2018 году и поддерживаемый постоянными гастролями, одноименный альбом занял седьмую строчку в новозеландском альбоме.

North America's answer to the legendary UK C86 compilation Includes an 80+ page booklet with a comprehensive oral history of the American jangle pop scene and tons of photos and ephemera // Strum & Thrum: The American Jangle Underground 1983-1987 is the first volume of Captured Tracks' new venture into compilations - Excavations. Inspired by Pebbles, Killed By Death, Soul Jazz and Numero Group compilations, Excavations is a series dedicated to compiling forgotten music from the 1970s - 1990s that has a connection to Captured Tracks' sound and aesthetic. Much like the Cleaners from Venus, the Wake, and Saäda Bonaire reissues we've put out, Excavations releases will bridge the past to our current roster and showcase the kinds of sounds that inspire us. It makes sense that the first volume of Excavations is Strum & Thrum. As an American label, we've often wondered why British, Aussie, and Kiwi indie rock from the `80s has had the most influence on modern acts and the collector's market. Granted, the music released on Creation, Sarah, Cherry Red, Postcard, Flying Nun, et al. during that era was fantastic, but a parallel to this sound existed in the US and Canada as well. Outside of bands like R.E.M., the Rain Parade, the Dream Syndicate, and a few others, most of these bands received little attention from national or international press outlets and markets - unless they opted for a "big `80s" sound and signed to a major. The acts on this compilation are the antithesis of that, with a true DiY spirit that lead many of these bands to self-record and self-release within tiny local scenes in small cities and college towns across America. Though hardcore dominated the American underground at the time, the indie scene was no less vital and operated utilizing many of the distribution channels hardcore set up. The two genres may have sounded nothing alike, but the DiY ethos and dedication to community was the same_ But this isn't the story we're used to hearing. While noted underground archivist and compilation producer Johan Kugelberg has called the `80s the "Dark Ages" of indie rock, Strum & Thrum aims to shed light on this forgotten era of jangly, melodic rock music that emerged from the ashes of post punk and helped kick start the indie rock boom of the early `90s that continues to this day. Indeed, many artists featured on Strum & Thrum went on to be part of this boom - Archer Prewitt from the Sea & Cake, Jon Ginoli from Pansy Division, Ric Menck from Velvet Crush, Brent Rademaker from Beachwood Sparks, Barbara Manning, and more went on to be in well known bands in the `90s. This compilation is an essential listen for any fan of classic `80s indie bands like the Go-Betweens, Felt, the Church, the Bats, Shop Assistants, and the like. And if you're a fan of the early records Captured Tracks released by Beach Fossils, DIIV and Wild Nothing, you'll find a lot to love here as well. Spread across two LPs, Strum & Thrum includes an 80+ page booklet with an extensive oral history of the `80s indie scene, an introduction by Captured Tracks label head Mike Sniper, and tons of archival images and ephemera. Long live the jangle underground!

North America's answer to the legendary UK C86 compilation Includes an 80+ page booklet with a comprehensive oral history of the American jangle pop scene and tons of photos and ephemera // Strum & Thrum: The American Jangle Underground 1983-1987 is the first volume of Captured Tracks' new venture into compilations - Excavations. Inspired by Pebbles, Killed By Death, Soul Jazz and Numero Group compilations, Excavations is a series dedicated to compiling forgotten music from the 1970s - 1990s that has a connection to Captured Tracks' sound and aesthetic. Much like the Cleaners from Venus, the Wake, and Saäda Bonaire reissues we've put out, Excavations releases will bridge the past to our current roster and showcase the kinds of sounds that inspire us. It makes sense that the first volume of Excavations is Strum & Thrum. As an American label, we've often wondered why British, Aussie, and Kiwi indie rock from the `80s has had the most influence on modern acts and the collector's market. Granted, the music released on Creation, Sarah, Cherry Red, Postcard, Flying Nun, et al. during that era was fantastic, but a parallel to this sound existed in the US and Canada as well. Outside of bands like R.E.M., the Rain Parade, the Dream Syndicate, and a few others, most of these bands received little attention from national or international press outlets and markets - unless they opted for a "big `80s" sound and signed to a major. The acts on this compilation are the antithesis of that, with a true DiY spirit that lead many of these bands to self-record and self-release within tiny local scenes in small cities and college towns across America. Though hardcore dominated the American underground at the time, the indie scene was no less vital and operated utilizing many of the distribution channels hardcore set up. The two genres may have sounded nothing alike, but the DiY ethos and dedication to community was the same_ But this isn't the story we're used to hearing. While noted underground archivist and compilation producer Johan Kugelberg has called the `80s the "Dark Ages" of indie rock, Strum & Thrum aims to shed light on this forgotten era of jangly, melodic rock music that emerged from the ashes of post punk and helped kick start the indie rock boom of the early `90s that continues to this day. Indeed, many artists featured on Strum & Thrum went on to be part of this boom - Archer Prewitt from the Sea & Cake, Jon Ginoli from Pansy Division, Ric Menck from Velvet Crush, Brent Rademaker from Beachwood Sparks, Barbara Manning, and more went on to be in well known bands in the `90s. This compilation is an essential listen for any fan of classic `80s indie bands like the Go-Betweens, Felt, the Church, the Bats, Shop Assistants, and the like. And if you're a fan of the early records Captured Tracks released by Beach Fossils, DIIV and Wild Nothing, you'll find a lot to love here as well. Spread across two LPs, Strum & Thrum includes an 80+ page booklet with an extensive oral history of the `80s indie scene, an introduction by Captured Tracks label head Mike Sniper, and tons of archival images and ephemera. Long live the jangle underground!

Pressed in a limited edition of 1000, the 10th Anniversary Edition of Wild Nothing's seminal release Gemini is pressed on Translucent Sea Blue Vinyl and housed in a silk-screened, hand-stamped LP Jacket that mimics the very first edition of its release. Songwriter Jack Tatum makes music as Wild Nothing and sounds about as removed from his home of Blacksburg, Va., as one could imagine. Like a blend of Cocteau Twins and Atlas Sound, the songs on his breakthrough full-length debut, Gemini, are willowy and ethereal, but tethered to a sturdy and sinewy backbone. "Chinatown" waltzes through a timeless, misty tableaux of wispy vocals and plucky guitars, with a wonderfully faint verse/chorus/verse skeleton, while tracks like the fantastically sticky "Summer Holiday" and "Our Composition Book" have a jangly melancholy the evokes Johnny Marr and The Smiths. Tatum uses his charmingly imperfect falsetto on "Confirmation," darting in and out of hazy keyboards and shyly bubbling guitar and bass lines. His voice takes on a darker, flatter intonation on songs like the murky "Pessimist" and the bittersweet "Live in Dreams." Gemini is a beautiful, aural space that's perfect for getting lost in.

With Plum, the songwriting partnership rooted in the creative rapport between bandleader Molly Hamilton and guitarist Robert Earl Thomas continues to expand on shared visions, delving deeper into what was always there: dusty guitars, ear-worm melodies, warm expansive arrangements. Each entry to their catalog has marked a subtle reimagining of Widowspeak's sound, though perennial points of reference remain the same: 90's dream pop, 60's psych rock, a certain unshakeable Pacific-Northwestness. Speaking to the timeless feeling of each, the albums continue to be discovered well beyond their respective PR cycles, made beloved by new listeners through word of mouth. The band's fifth album feels comfortable and lived-in: humble in structure, heavy on mood. Perhaps that came taking time off from the touring grind, instead working full-time jobs and settling into the rhythm of daily life in a small upstate New York town. Plum was recorded over a handful of weekends last winter by Sam Evian (Cass McCombs, Kazu Makino, Hannah Cohen) at his Flying Cloud studio in the Catskills, and was mixed by Ali Chant (PJ Harvey, Aldous Harding, Perfume Genius). In addition to Hamilton (vocals, guitar) and Thomas (guitars, bass, synth), it features instrumental contributions by Andy Weaver (drums), Michael Hess (piano), and Sam himself (bass, synth). Plum nestles into the band's canon like it was always there, but with new textures coming to the fore, like the polyrhythmic pulse of "Amy" and "The Good Ones", or the watery, Terry Riley-influenced track "Jeanie" Plum navigates the spaces between the lesser emotions of modern life. Hamilton's lyrics speak to the unique turmoil of anyone who creates as their work, who must somehow survive off such "fruits of their labor." Yet, Widowspeak have always made a bitter pill much easier to swallow. The majestic "Breadwinner", the luminous "Even True Love" - these songs here were made to be listened to, enjoyed. "Money" is particularly hypnotic, built around a repeating, cyclical motif that serves as both skeleton and body. "Will you get back what you put in?" Hamilton asks over an insistent guitar riff. The line is delivered with a knowingness that transcends its surface critiques of late-stage capitalism, asking both herself and the listener whether this is, in fact, the world we want to live in. Through Plum, Widowspeak have brought something into the world that seems to know its own worth, even as it wonders aloud about what is to come. What value and meaning do we assign ourselves, our time, and how do we spend it?

.. CHRISTMAS ALBUM / GOLD VINYL

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PINK VINYL