Фирма Thrill Jockey

LP version pressed on virgin vinyl packaged with artworked inner sleeve and free download card in LP jacket with spot metallic ink and spot high gloss varnish. As the duo Golden Retriever, Matt Carlson and Jonathan Sielaff have explored an ocean’s worth of sound. Primarily working with the intersection of modular synthesis and amplified/effected bass clarinet, the duo has done eight releases for labels like Thrill Jockey, Root Strata, and NNA Tapes. Their music combines an intense emotional immediacy and meditative focus with strong melodicism and an organic, naturalistic approach to experimental electronic sound. Rotations features the duo expanding their sonic palette to incorporate a full chamber ensemble. The results of this stunning collaboration are meditative, lush, and emotionally arresting. Rotations began when Golden Retriever received a grant from Portland’s Regional Arts & Culture Council to organize and perform new works. The public performances took place in October of 2015 at Portland’s historic The Old Church. For the performances, Golden Retriever created a series of pieces for an expanded ensemble that included piano, strings, wind instruments, percussion, synthesizer, and pipe organ, which became the foundation on which Rotations was built. While their duo recordings and performances are typically developed from studio improvisations that evolve into specific musical structures, in this case Golden Retriever began with simple acoustic compositions, improvisations and fragmented ideas between bass clarinet and piano and used them to develop melodic and harmonic themes. After transcribing the various parts into notation and adding layers of additional instruments, the result of their collage process creates the effect that Golden Retriever are playing the ensemble as their instrument, and through careful arrangements, have integrated improvisation and composition. Through the course of the creative process of choosing, editing and arranging the pieces, the duo saw a clear theme: a meditation on the cyclical nature of life and on going through something difficult but emerging on the other side of it with hope. Pieces such as “Pelagic Tremor” tell the story of a tumultuous seascape, stormy and churning. “Tessellation” weaves a tapestry of overlapping patterns that are impenetrable and sifting. In contrast, the sounds of “A Kind of Leaving” (whose title is a reference to a Bei Dao poem) evokes quiet and contemplative imagery, and “Thread of Light” is perhaps Golden Retriever’s most minimal piece to date, finding beauty in simplicity. Within each piece, the instruments cycle together rhythmically, harmonically, and texturally. And the album itself forms a cycle made up by the ebb and flow of each piece that is both dynamic and engaging. Record Label: Thrill Jockey Style: Electronic

In celebration of Thrill Jockey's 25th Anniversary Oval’s classic 1998 album Dok gets a first time vinyl re-issue. Pressed on clear vinyl and packaged in a jacket with metallic ink and free download card. This record is part one of a counter-remix-project embarked upon by Berlin-based sound innovators Oval and Tokyo-based installation artist/sound designer Christophe Charles. The record is primarily an Oval record accessing the soundfile archive of travel and field recordings by Christophe Charles. On previous records 94diskont and their debut Systemisch, Oval explored deconstruction and reconstruction, assault and aesthetics creating a unique semantic on top of the exploration of generic features and bugs of electronic music media. Their music has always been a naturally occurring phenomenon that documents their adaptation process of digital (music) media as a whole. On this new LP, Dok, the preparation of the recording process itself was a challenge in its own right. The challenge centers around the widely static and very delicate environmental recordings of sound designer Christophe Charles and the difficulty in creating music out of sounds with no sustain, no rhythm, and in no linear stucture or relationship to each other. Charles, who holds a Phd from Tsukuba University and a Phd from Institut National De Langes et Civilasations Orientales in Paris, has spent considerable time exploring the often forgotten aspect of music, its spatial dimension; in other words the effect and/or location of amplification, position of the origin and dimensions of space in which music is performed/played. These considerations have led him to work often with "Found Sounds" or actual environmental (urban or otherwise) recordings. Charles provided Oval with a selection of field recordings of bells from around the world. The bells' sounds and monolithic travel recordings were static with almost no rhythmic index. Oval transformed the static character of the found sounds and made them fluid. The resulting record documents a compelling merge of two vast, very distinctive soundfile archives, effortlessly two extreme, sometimes even contradicting approaches to both music and music technology - encouraging the listener to see sound shape and form in entirely new ways by adding an entirely new spatial and lively index to Oval music. Through the additional processing of the bell and other environmental sounds, the addition of bass tones and the use of as well as "as is" environmental recordings, Oval have once again created a complex, yet accessible soundscape. Dok is nonetheless still firmly grounded in what Oval always was all about: intervention into simulation, and theory and above all a musical result that may be enjoyed without any knowledge of the technology or theory behind it. Record Label: Thrill Jockey Style: Electronic

LP version pressed on virgin vinyl and packaged in an LP jacket printed on uncoated stock with spot UV gloss printing, printed inner sleeve, and free download card. CD version in 4 panel mini-LP style gatefold package. House and Land is the duo of Sally Anne Morgan (fiddle, shruti box, banjo, vocals) and Sarah Louise Henson (vocals, 12-string guitar, shruti box, bouzouki). Sally and Sarah started playing together after Sarah opened for The Black Twig Pickers for whom Sally plays the fiddle. The duo quickly discovered that they were both interested in the same very specific forms of traditional music. Additionally, they both viewed it through the lens of their shared love of modern, experimental and minimal music. “We honor what two voices and bodies can do in one moment in time. It totally shapes our sound.” Their playing together is wholly unmediated, without amplifiers and using just two sets of hands and voices. With a minimalist approach, their music considers the space between notes as much as the notes themselves. The material on their debut is drawn from traditional southern hymns and Appalachian ballads that originated in England and elsewhere hundreds of years ago. Microtonality is as essential to certain Appalachian vocal styles as it is to a Tony Conrad composition and the often spare adornment to their singing puts these complexities on full display. The songs, however, are not entirely unadorned. Sally and Sarah are both masters of their instruments and on several tracks they bring in percussionist Thom Nguyen, who plays with an improviser’s ear. House and Land features many drone elements, which is a direct homage to the presence of drone in Appalachian music. Equally important is their knowledge of the use of drone in contemporary classical music, which itself has often taken inspiration from nature-based drone styles from around the world. This connection between nature and minimalism is not uncommon and can be seen in artists like Agnes Martin and composers such as Éliane Radigue and John Luther Adams. Repetition is linked to music across the spectrum that evokes trance and other spiritual states. A historical review of ballads tells a history of patriarchy. These songs have been arranged for and by two women with an extensive knowledge of the form and filtered through their own feminist perspectives. In some cases, like in “Rich Old Jade,” their singing bears witness to the hardships women have endured. In other cases, they have changed lyrics to honor women through imagined histories. In “Johnny,” for example, “My father offers house and land” becomes “My mother offers house and land.” House and Land’s music is less adorned and certainly less processed than much popular music today. The hand-hewn quality transports the listener to another time the way a Shirley and Dolly Collins recording can. The themes are universal and the songs intergenerational. “Home Over Yonder,” for example, came from the singing of Frankie Duff of Lexington, Kentucky, who passed away in January 2017 at the age of 102. While there is a temptation to view this music nostalgically, this would be a mistake. This living music is constantly being rearranged. The obscure songs on this album, like many well-known traditional songs, are in a state of nearly constant evolution, a testament to their continued significance. Naturalistic and entirely modern, the music of House and Land continues this tradition with its own contemporary and beautiful interpretations. Record Label: Thrill Jockey Style: Folk

Against Which the Sea Continually Beats is Glenn Jones’ second album originally released in 2007 on CD-only by Strange Attractors Audio House. This first time vinyl issue has been re-mastered and features expanded liner notes written by Jones just for this release. 2xLP is pressed on virgin vinyl and packaged in a gatefold jacket including notes and tunings for each song and free download card. Glenn Jones is a master of American Primitive Guitar, a style invented in the late 1950s by John Fahey, whose traditional fingerpicking techniques and wide-ranging influences were used to create modern original compositions. Jones, who led the post-rock ensemble Cul de Sac, brings his own made-up tunings, the use of custom-crafted partial capos, and a highly skilled picking style on both banjo and guitar, to create personal compositions that are lyrical, emotive and elegant. What sets him apart from the myriad guitarists playing today is his ability to tell stories with the guitar and banjo, and to convey a range of emotions. This process starts with the compositions themselves and carries through to his selection of recording environment and engineer. Against Which the Sea Continually Beats was recorded over four days during late September 2006 in beautiful West Tisbury, Martha’s Vineyard, MA. The peaceful, seafaring setting of the island community inspired the recording sessions, lending an air of tranquility that served to coax from Glenn Jones impeccable performances, most of which were captured in just one take. Book-ended by the brief slide blues laments “Island 1” and “Island 2”, the album’s eleven tunes travel from Delta to Appalachia, from classical to a cinematic sort of folk sound in a language that is purely imbued in the artists’ own dialect. Graceful and subtle, resonating with confidence and at times sheer power, Against Which the Sea Continually Beats is a masterpiece of guitar soli by a truly singular talent. Record Label: Thrill Jockey Style: Folk

For a limited time all orders will include a 4" x 6" lenticular postcard featuring photos of both Dustin and Takako! LP pressed on virgin vinyl with artworked inner sleeve and free download card. Record Label: Thrill Jockey Style: Alternative

The sounds of Dustin Wong and Takako Minekawa are a coalescence of the complexities of life, with the sheer joy of imaginative creation. Are Euphoria continues to dive deeper into the dreamlike technicolour tapestries their songs have always explored, blossoming forward with each cycle of loops. Completely characteristic of their style, Wong and Minekawa achieve a density of textures, timbres, beats, and harmonies while remaining totally weightless, suspended in the air. Music in Japanese is written in two words, sound and enjoyment. Counterpoint, dissonance, odd time signatures - when all these things accumulate and coalesce in interesting and harmonious ways, it is like hearing or seeing an idyllic perception of Humanity. Like a curving line that streams up in to the sky, like a flock of birds or a school of fish, the directions and shapes change in seemingly random ways, yet create patterns that dance and seduce consciousness. Every beat, melody, is a unique metaphor to each individual. The variety of peoples, cultures, religions, thoughts, hobbies, races, these differences molten together, the differences are the elements needed in creating harmony. The same sound on top of the same sound doesn't form harmonies. Harmony is created by differences. Depending on the desires and sentiments that go into sound, the music changes, the power of the individual's metaphor and imagination can take the listener to profound distances. Each person's impression, are all unique and completely limitless. Are Euphoria is deeply influenced by a branch of “fusion" that is more about creating a world rather than focusing on performance or technical dexterity. Musicians like Yasuaki Shimizu, Motohiko Hamase, Mono Fontana, Joe Zawinul, Steve Shehan, and many others that were able to create musical environments helped to inspire the worlds created on Are Euphoria. Takako Minekawa and Dustin Wong, sought out Co La (Matthew Papich) to co-produce the album, due to his unique ability to place sounds and build compositions, which is leading a new type of expression in music. His surreal and conceptual approach made for a perfect combination with worlds created by the songs on Are Euphoria. Based in Tokyo Japan, Wong and Minekawa are part of a growing DIY community, frequently performing in smaller spaces such as Nanahari, Fuchi-kuchi, and Ochiai Soup. Their artistic focus is to create the unexpected. It is a scene that encourages this adventurousness. Wong and Minekawa use their considerable technical skill to create the psychedelic, surreal, and conceptual, and with dexterity and inventiveness. While Minekawa still contributes to J-Pop releases and Wong is still connected to his Baltmore roots, their joyous collaboration is as delightful and challenging as it is innovative. Record Label: Thrill Jockey Style: Alternative

E, the trio of Thalia Zedek (Come, Uzi, Live Skull), Jason Sanford (Neptune), and Gavin McCarthy (Karate), have crafted an album that fuses an explosive, industrial sound with the patience and reservation only practiced songwriters can invoke. While each member has decades of experience in the alternative scenes of rock music, their collaborative efforts have combined in a work that is both unlike anything that’s come before them, and the result of three veterans working in total harmony. What sets E apart from their contemporaries is their almost youthful willingness to experiment, while having the maturity to show restraint and austerity. On their self- titled debut album, E have developed a sound that is both mechanically oriented and emotional, a combination they could only describe as “soul music for machines.” Zedek and Sanford first began working together in 2013 out of a desire to dive into a musical outlet more collaborative than their more solo-oriented efforts. Drawn by mutual respect for one another’s artistry, the two were energized creatively when exploring the combination of Zedek’s unmistakable voice and inventive guitar lines with Sanford’s sculptural homemade metal guitar sounds and stomp box rhythms. Zedek and Sanford approached longtime friend Gavin McCarthy about expanding on the unique sounds. Although McCarthy, a fan of E, originally thought of himself in the band on bass, once he was added as the drummer it became immediately clear that his expressive and agile playing was all the rhythm section E needed. E defies expectations - while having no bassist, the sound is driving and with an emphasis on rhythm. “Delicate Fingers” is a great example of their inventive approach. The propulsive tom-heavy drumming of McCarthy in tandem with Sanford’s specially crafted bass-tone stomp boxes provides a relentless drive. Each member sings on the album, bringing their own lyrics and melodies to the table, and sometimes crossing and interweaving with another’s vocals. Where most bands with more than one singer might gravitate towards harmonies, E instead showcases each player’s voice as an individual, with McCarthy even providing some of the albums fiercest vocal performance on the explosive “Candidate.” Several songs find the band trading lyrical and vocal duties, such as “I Want to Feel Good,” where Sanford’s mantra “I want to feel good” trades off with Zedek’s impassioned lyrics about immigration. The name E itself is representative of the band – a trio of lines, each equal in length, each sticking out equally from a base. Because each player is so distinguished and distinct in their playing styles, E is able to exhibit total control over their sound, while still focusing on having the freedom to experiment. Whether it’s stomping on a wooden block housing the blade from a hacksaw for bass tones, or approaching the drum kit as a melodic instrument, the band said themselves, “it’s about freedom.” Record Label: Thrill Jockey Style: Alternative

LP is pressed on virgin vinyl with artworked inner sleeve and free download card. E, the trio of Thalia Zedek (Come, Uzi, Live Skull), Jason Sanford (Neptune), and Gavin McCarthy (Karate), have crafted an album that fuses an explosive, industrial sound with the patience and reservation only practiced songwriters can invoke. While each member has decades of experience in the alternative scenes of rock music, their collaborative efforts have combined in a work that is both unlike anything thats come before them, and the result of three veterans working in total harmony. What sets E apart from their contemporaries is their almost youthful willingness to experiment, while having the maturity to show restraint and austerity. On their self- titled debut album, E have developed a sound that is both mechanically oriented and emotional, a combination they could only describe as soul music for machines. Zedek and Sanford first began working together in 2013 out of a desire to dive into a musical outlet more collaborative than their more solo-oriented efforts. Drawn by mutual respect for one anothers artistry, the two were energized creatively when exploring the combination of Zedeks unmistakable voice and inventive guitar lines with Sanfords sculptural homemade metal guitar sounds and stomp box rhythms. Zedek and Sanford approached longtime friend Gavin McCarthy about expanding on the unique sounds. Although McCarthy, a fan of E, originally thought of himself in the band on bass, once he was added as the drummer it became immediately clear that his expressive and agile playing was all the rhythm section E needed. E defies expectations - while having no bassist, the sound is driving and with an emphasis on rhythm. Delicate Fingers is a great example of their inventive approach. The propulsive tom-heavy drumming of McCarthy in tandem with Sanfords specially crafted bass-tone stomp boxes provides a relentless drive. Each member sings on the album, bringing their own lyrics and melodies to the table, and sometimes crossing and interweaving with anothers vocals. Where most bands with more than one singer might gravitate towards harmonies, E instead showcases each players voice as an individual, with McCarthy even providing some of the albums fiercest vocal performance on the explosive Candidate. Several songs find the band trading lyrical and vocal duties, such as I Want to Feel Good, where Sanfords mantra I want to feel good trades off with Zedeks impassioned lyrics about immigration. The name E itself is representative of the band – a trio of lines, each equal in length, each sticking out equally from a base. Because each player is so distinguished and distinct in their playing styles, E is able to exhibit total control over their sound, while still focusing on having the freedom to experiment. Whether its stomping on a wooden block housing the blade from a hacksaw for bass tones, or approaching the drum kit as a melodic instrument, the band said themselves, its about freedom. Record Label: Thrill Jockey Style: Alternative

Radian will release a new album, On Dark Silent Off, via Thrill Jockey in the fall. The long-standing experimental group has already released three albums with Thrill Jockey—the last one being 2009's Chimeric. Their new record, which incorporates guitars, drums, bass and a host of electronic hardware, is, according to the label, all about "the juxtaposition of extremes, the contrast between light and darkness; and in musical terms, sound and silence and brightness/darkness of timbre." It takes inspiration from modern and contemporary works of art, from the abstract paintings of Ad Reinhardt to Outer Space, an impressionistic horror film by fellow Austrian Peter Tscherkassky. "Radian likes to deal with sound that could be seen as byproducts of a musical process and incorporate them into its pieces," Thrill Jockey explains. "The sound of a cable entering the socket of a guitar, the sound of a switch, hums, sound of the fingers tapping on the string of a bass or the sound of the hand gliding between two chords of a guitar. These sounds are not deleted, or hidden, they are often transformed into central elements of the pieces Record Label: Thrill Jockey Style: Post-Rock

Record Label: Thrill Jockey Style: Metal

Felder is an infinite, boundless creation that unravels upon every listen. Werner has created sounds that are listenable and inviting, complex but approachable and, mostly, completely unidentifiable. 'Felder' means 'fields' in German, and here the word refers to conceptual frameworks and subjects, and sound fields. Werner is a cultivator — a farmer — of the various sounds, from metal scratched on a big glass window to piano phrases found on a private Popul Vuh compilation. He mixes organic sounds from French horns and cellos seamlessly with synthesized notes created with one-of-a-kind programs. Werner builds layers of sound with differing cadences upon one another, creating intricate patterns that connect with each other structurally, rhythmically, semantically, and historically. Suggestions of jazz, industrial music, drone and even folk float in and out of the electronic compositions in a seemingly effortless manner, paradoxically, Felder was meticulously constructed over the course of four years. Werner's refinement process for the pieces on Felder was simultaneous with the lofty goal of challenging himself as a musician while still creating a record that is melodic and complex. Werner recorded the album in Marfa, Texas, Berlin, and around the world while touring with Mouse on Mars. Just as the album's creation and production cannot be tied to a specific setting or time, the sounds heard on the album have no clear boundaries. They are unexpectedly malleable and mutable. Context and perceptions play with sounds to yield a fresh new experience with each listen. Samples and instrumentals bounce off one another, starting from central points and radiating outwards. With so many new sounds to discover and new inspirations to be found, Felder is an entire new field of musical possibilities — a landscape that at first appears simple and beautiful that reveals its utter complexity upon closer inspection. The album is joyful experience for both the mind and the soul Record Label: Thrill Jockey Style: Electronic

Record Label: Thrill Jockey Style: Metal

Record Label: Thrill Jockey Style: Folk

Record Label: Thrill Jockey Style: Post-Rock

Record Label: Thrill Jockey Style: Independent

Record Label: Thrill Jockey Style: Independent

Record Label: Thrill Jockey Style: Independent

Record Label: Thrill Jockey Style: Independent

Record Label: Thrill Jockey Style: Independent

Record Label: Thrill Jockey Style: Independent