Фирма Glitterhouse

Record Label: Glitterhouse Style: Pop

Record Label: Glitterhouse Style: Pop

Hugo Race and his long time collaborators the True Spirit release their first album in seven years on May 29th 2015 through German independent Glitterhouse Records. ‘The Spirit’ is the band’s 12th studio album, not including live albums and retrospectives and while Hugo’s prolific and eclectic catalogue includes solo albums and an astonishing variety of international collaborations, The Spirit presents a return to his roots in a psych-rock zone tagged by Melody Maker in the band’s early days as ‘industrial trance blues’. Produced by Hugo over a period of three years in his hometown of Melbourne with the same line-up (Michelangelo Russo – electronics, Bryan Colechin – bass, Brett Poliness – drums and percussion, Nico Mansy – keys) featured on albums like Goldstreet Sessions (2003), Taoist Priests (2006) and 53rd State (2008), The Spirit is fuelled by high-energy rhythmic drive and Race’s darkly humorous lyrics with the band wielding space and sonic suggestion as instruments in their own right. “We built a studio in a house out on the city’s edge to slowly develop the songs at our own speed with no pressure. We’d never had the luxury before of playing new songs live before recording them. When we felt the time was right, we taped a lot of the final album with Idge at his Soundpark studio, capturing our sound with ambient mics and vintage processors. But the vibe of that house and the all-night recording sessions with the background buzz of cicadas and the homemade instruments in the tool shed, its all still there. We wanted to create a definitive album for The True Spirit and took our sweet time about it. This record is it.” The Spirit is a compelling statement by a legendary band at the height of their powers. The first single “Elevate My Love” (and the video by Donald Baldie) drops in April 2015, the complete album on May 29th and a second single “False Idols” (not included on the album) in October prior to the True Spirit embarking on a European tour in the autumn. “I see the True Spirit as connected to my original reasons for making music in the post-punk time, a kind of collision of influences that include the cosmic side of psychedelia, the analogue razor blade attack of primal blues (ie – the 30s and 40s and early 50s), as well as soft sexy soul music and electronica. We’ve always felt comfortable outside the ‘box’ of easy categorization and we’ve never hesitated to pull in streams and influences from the political or the spiritual, developing our personal obsessions and refining them down into something for the mind and body and soul.” - Hugo Race Record Label: Glitterhouse Style: Alternative Rock

Hugo Race and his long time collaborators the True Spirit release their first album in seven years on May 29th 2015 through German independent Glitterhouse Records. ‘The Spirit’ is the band’s 12th studio album, not including live albums and retrospectives and while Hugo’s prolific and eclectic catalogue includes solo albums and an astonishing variety of international collaborations, The Spirit presents a return to his roots in a psych-rock zone tagged by Melody Maker in the band’s early days as ‘industrial trance blues’. Produced by Hugo over a period of three years in his hometown of Melbourne with the same line-up (Michelangelo Russo – electronics, Bryan Colechin – bass, Brett Poliness – drums and percussion, Nico Mansy – keys) featured on albums like Goldstreet Sessions (2003), Taoist Priests (2006) and 53rd State (2008), The Spirit is fuelled by high-energy rhythmic drive and Race’s darkly humorous lyrics with the band wielding space and sonic suggestion as instruments in their own right. “We built a studio in a house out on the city’s edge to slowly develop the songs at our own speed with no pressure. We’d never had the luxury before of playing new songs live before recording them. When we felt the time was right, we taped a lot of the final album with Idge at his Soundpark studio, capturing our sound with ambient mics and vintage processors. But the vibe of that house and the all-night recording sessions with the background buzz of cicadas and the homemade instruments in the tool shed, its all still there. We wanted to create a definitive album for The True Spirit and took our sweet time about it. This record is it.” The Spirit is a compelling statement by a legendary band at the height of their powers. The first single “Elevate My Love” (and the video by Donald Baldie) drops in April 2015, the complete album on May 29th and a second single “False Idols” (not included on the album) in October prior to the True Spirit embarking on a European tour in the autumn. “I see the True Spirit as connected to my original reasons for making music in the post-punk time, a kind of collision of influences that include the cosmic side of psychedelia, the analogue razor blade attack of primal blues (ie – the 30s and 40s and early 50s), as well as soft sexy soul music and electronica. We’ve always felt comfortable outside the ‘box’ of easy categorization and we’ve never hesitated to pull in streams and influences from the political or the spiritual, developing our personal obsessions and refining them down into something for the mind and body and soul.” - Hugo Race Record Label: Glitterhouse Style: Alternative Rock

Record Label: Glitterhouse Style: Indie Pop

Record Label: Glitterhouse Style: Indie-Pop

Record Label: Glitterhouse Style: Indie-Pop

Record Label: Glitterhouse Style: Pop

Record Label: Glitterhouse Style: Pop

Classic and sublime songs seperate artists like Distance, Light & Sky from the mainstream. Their wonderful debut album consists of 10 amazing tracks analogue recorded in the Sono Studios in Prague with legendary producer Phill Brown (Talk Talk - „Spirit of Eden“). Songwriter Chris Eckman knows how to tie on to the best times of The Walkabouts but Distance, Light & Sky is not a solo- not either a side project it is truly a band of its own. Alongside Chris Eckman you'll see the adorable female singer and songwriter Chantal Acda from the Netherlands/England. Chantal is well known for her work with the band the Isbells and recorded her last solo album „Let Your Hands Be My Guide“ with Nils Frahm and Peter Broderick of Efterklang („Exquisite. As soft as snow” -MOJO 04/05, „Starry-eyed beauty“ - Uncut 08/10). Next to her and Chris there's percussionist and composer Eric Thielemans of the EARR Ensemble who's famous for his work with the legendary Sun Ra saxophonist Marshall Allen. You'll see that Distance, Light & Sky consists of 3 musicians coming from a different backround connected by a common musical vision. Their debut „Casting Nets“ is a melancholy but optimistic album made of quiet and calm sounds, multifarious and nuanced, shaped by its composers and their various characters Eckman, Acda and Thielemans and the unique recording technique of producer Phill Brown. It's a true pleasure to listen to the duets of Chantal Acda with her female voice and Chris Eckman with his sonorous baritone voice. Most fascinating of all is the fact that these 3 totally different artists made the grade to bunch their varied influences into a homogenous and harmonic sound construct called „Casting Nets“. Distance, Light & Sky explore new horizons and they'll help you to escape the drab monotony of everyday life. „Casting Nets“ is an unspectacular but truly wonderful album for the cold seasons of the year. We're very happy to welcome this amazing band at Glitterhouse Records. Not available for most territories. Please ask for details. Record Label: Glitterhouse Style: Pop

Classic and sublime songs seperate artists like Distance, Light & Sky from the mainstream. Their wonderful debut album consists of 10 amazing tracks analogue recorded in the Sono Studios in Prague with legendary producer Phill Brown (Talk Talk - „Spirit of Eden“). Songwriter Chris Eckman knows how to tie on to the best times of The Walkabouts but Distance, Light & Sky is not a solo- not either a side project it is truly a band of its own. Alongside Chris Eckman you'll see the adorable female singer and songwriter Chantal Acda from the Netherlands/England. Chantal is well known for her work with the band the Isbells and recorded her last solo album „Let Your Hands Be My Guide“ with Nils Frahm and Peter Broderick of Efterklang („Exquisite. As soft as snow” -MOJO 04/05, „Starry-eyed beauty“ - Uncut 08/10). Next to her and Chris there's percussionist and composer Eric Thielemans of the EARR Ensemble who's famous for his work with the legendary Sun Ra saxophonist Marshall Allen. You'll see that Distance, Light & Sky consists of 3 musicians coming from a different backround connected by a common musical vision. Their debut „Casting Nets“ is a melancholy but optimistic album made of quiet and calm sounds, multifarious and nuanced, shaped by its composers and their various characters Eckman, Acda and Thielemans and the unique recording technique of producer Phill Brown. It's a true pleasure to listen to the duets of Chantal Acda with her female voice and Chris Eckman with his sonorous baritone voice. Most fascinating of all is the fact that these 3 totally different artists made the grade to bunch their varied influences into a homogenous and harmonic sound construct called „Casting Nets“. Distance, Light & Sky explore new horizons and they'll help you to escape the drab monotony of everyday life. „Casting Nets“ is an unspectacular but truly wonderful album for the cold seasons of the year. We're very happy to welcome this amazing band at Glitterhouse Records. Not available for most territories. Please ask for details. Record Label: Glitterhouse Style: Pop

Record Label: Glitterhouse Style: Pop

180g. A ship at port is safe, but that’s not what ships are built for.” (Grace Hopper) Following their debut, “Hold this Ghost”, whose immediate melodies and lush orchestration garnered significant press and a devoted listenership worldwide, Musée Mécanique returns with the ambitious “From Shores of Sleep”, a through-composed musical voyage that finds its lineage as much in the song-cycles of Robert Schumann as in its Portland, Oregon folk-rock contemporaries. Using water as a central image, Musée Mécanique has crafted a story both surreal and insightful, meticulous and moving, a record about travels and transitions, of restlessness and longing, and the grief that comes from leaving things behind.“From Shores of Sleep” is a statement twenty years in the making. Songwriters Micah Rabwin and Sean Ogilvie met in their 9th grade English class and have been making music together ever since. Rabwin reflects “We've known each other for 20 years, through burgeoning adolescence, making bad decisions, having children and getting married. We were coming to terms with what it means to grow up.” Over the course of two years, they labored over lyrics both together and separately, referencing Homer’s Odyssey, Dante’s Inferno, Jacques Cousteau, old sailors legends, as well as their own interactions with the ocean and the rivers near Portland. As Ogilvie notes, “There were so many personal struggles and observations from our combined lives that we wanted to fuse into this one small forty-five minute piece of material.” Rich with wordplay, lyrics with double and triple meanings, and references to earlier songs in later songs, the musical journey ultimately parallels the time and emotional toll of making the record; reconciling the writer’s identities as artists with the responsibilities and expectations of adulthood and forming a dialogue between the dreamer and the realist.Ogilvie’s background in classical composition is apparent throughout “From Shores Of Sleep”, as is his tenure with respected post-rock instrumental band Tristeza. From the upbeat opener “O Astoria” to the arresting choral harmonies of “Castle Walls”, arrangements mirror and interact with the lyrics. Strings, woodwinds and synthesizer sounds appear and re-appear, often playing characters, not unlike Tchaikovsky’s instrumentation in “Peter and The Wolf”. Sirens enter, sung beautifully by Johanna Kunin and Alela Diane. Layered percussion at times resembles the complex rigging of a ship, and elsewhere invokes the steady pulse of ocean waves. The album ends with a quiet meditation on mortality “The Shaker’s Cask”: a pump organ dissolves into a string quintet then makes way for a regal section of woodwind and brass, each change emphasizing the song’s message: all things will pass.To perform the arrangements live is a daunting task requiring more than a dozen keyboards and an array of acoustic instruments from flugelhorn to lap-steel to musical saw. Nevertheless, having swelled from a duo into a solid five-piece, the band now pulls it off with impressive passion and precision. Musée Mécanique includes drummer/ethnomusicologist Matthew Berger, one-man brass section John Whaley, and skilled multi-instrumentalist Brian Perez. Each player must do several things at once, all the while singing complex harmonies, to succeed in capturing both the technical complexity of From Shores of Sleep, and also its emotional depth and generous spirit. Not available for most territories. Please ask for details. Record Label: Glitterhouse Style: Alternative Rock

A ship at port is safe, but that’s not what ships are built for.” (Grace Hopper) Following their debut, “Hold this Ghost”, whose immediate melodies and lush orchestration garnered significant press and a devoted listenership worldwide, Musée Mécanique returns with the ambitious “From Shores of Sleep”, a through-composed musical voyage that finds its lineage as much in the song-cycles of Robert Schumann as in its Portland, Oregon folk-rock contemporaries. Using water as a central image, Musée Mécanique has crafted a story both surreal and insightful, meticulous and moving, a record about travels and transitions, of restlessness and longing, and the grief that comes from leaving things behind.“From Shores of Sleep” is a statement twenty years in the making. Songwriters Micah Rabwin and Sean Ogilvie met in their 9th grade English class and have been making music together ever since. Rabwin reflects “We've known each other for 20 years, through burgeoning adolescence, making bad decisions, having children and getting married. We were coming to terms with what it means to grow up.” Over the course of two years, they labored over lyrics both together and separately, referencing Homer’s Odyssey, Dante’s Inferno, Jacques Cousteau, old sailors legends, as well as their own interactions with the ocean and the rivers near Portland. As Ogilvie notes, “There were so many personal struggles and observations from our combined lives that we wanted to fuse into this one small forty-five minute piece of material.” Rich with wordplay, lyrics with double and triple meanings, and references to earlier songs in later songs, the musical journey ultimately parallels the time and emotional toll of making the record; reconciling the writer’s identities as artists with the responsibilities and expectations of adulthood and forming a dialogue between the dreamer and the realist.Ogilvie’s background in classical composition is apparent throughout “From Shores Of Sleep”, as is his tenure with respected post-rock instrumental band Tristeza. From the upbeat opener “O Astoria” to the arresting choral harmonies of “Castle Walls”, arrangements mirror and interact with the lyrics. Strings, woodwinds and synthesizer sounds appear and re-appear, often playing characters, not unlike Tchaikovsky’s instrumentation in “Peter and The Wolf”. Sirens enter, sung beautifully by Johanna Kunin and Alela Diane. Layered percussion at times resembles the complex rigging of a ship, and elsewhere invokes the steady pulse of ocean waves. The album ends with a quiet meditation on mortality “The Shaker’s Cask”: a pump organ dissolves into a string quintet then makes way for a regal section of woodwind and brass, each change emphasizing the song’s message: all things will pass.To perform the arrangements live is a daunting task requiring more than a dozen keyboards and an array of acoustic instruments from flugelhorn to lap-steel to musical saw. Nevertheless, having swelled from a duo into a solid five-piece, the band now pulls it off with impressive passion and precision. Musée Mécanique includes drummer/ethnomusicologist Matthew Berger, one-man brass section John Whaley, and skilled multi-instrumentalist Brian Perez. Each player must do several things at once, all the while singing complex harmonies, to succeed in capturing both the technical complexity of From Shores of Sleep, and also its emotional depth and generous spirit. Not available for most territories. Please ask for details. Record Label: Glitterhouse Style: Alternative Rock

Record Label: Glitterhouse Style: Alternative Rock

Record Label: Glitterhouse Style: Alternative Rock

Artist: Jeffrey Lee Sessions Project Pierce Label: Glitterhouse

Artist: The Jeffrey Lee Pierce Sessions Project Label: Glitterhouse (Indigo)

Artist: Desoto Caucus Label: Glitterhouse

Artist: Wovenhand Label: Glitterhouse