LP, Constellation (2008) Style: Experimental Songwriter, Punk Blues, Chamber Punk, Noise Rock, Vibe: Visceral, Brooding, Angsty, Cathartic, Ominous, Sleazy, Dark, Dystopian, Apocalyptic, Intense, Deconstructed, Disturbing, Rebellious, Raw Musical Qualities: Noisy, Dynamic, Heavy, Dissonant, Spoken Word, Distorted Vocals
Style: Avant-Garde Big Band, Arabic/Egyptian Folk, Psychedelic Jazz
Vibe: Intense, Sombre, Cathartic, Psychedelic, Complex, Ritualistic, Communal
Musical Qualities: Dense, Progressive, Dissonant, Acoustic, Percussive
Instrumentation: Santur, Upright Bass, Piano, Saxophones, Vocals, Percussion, Drums, Clarinet, Flute, Strings (Violin, Viola, Cello), Keyboards, Synthesizer, lap Steel Guitar, Electronics, Harp
Style: Progressive Electronic, Experimental
Vibe/Mood: Ethereal, Spacey, Futuristic, Mysterious, Suspenseful, impressionistic
Musical Attributes: Atmospheric, Instrumental, Studio-as-an-instrument (Loops, Editing, Dubs), Vignettes, Improvisation
Instrumentation: Synthesizer, Drum Machine
Style: Experimental Rock, Post-Rock, Noise Rock
Influences: Kosmische Musik, No Wave, Musique Concrète
Vibe: Noisy, Groovy, Spacey, Raw
Musical Attributes: Rhythmic, Studio-as-an-Instrument, Repetitive
Released in 2015 on Constellation Records Recorded June 3-5, 2014 Format: LP
Released in 2004 on Constellation Records Format: LP Style: Experimental Rock, Post-Rock, Noise Rock Influences: Kosmische Musik, Shoegaze, Post-Punk Vibe: Chaotic, Noisy, Anxious, Messy, Spacey, Exploratory, Abstract Musical Attributes: Repetitive, Dense, Rhythmic, Studio-as-an-instrument, Sound Collage
Released in 2014 on Constellation Records Format: LP
Released in 2019 on Constellation Records Format: LP
Released in 2019 on Constellation Records Format: LP
Released in 2017 on Constellation Records Format: LPx2, etching on side D
The cubist sophisti-pop of Impossible Spaces feels both breezy and proggy in its chilled-out intricacy. Sandro Perri’s evocative songwriting and catchy melodicism are brought into high-definition by warmly futuristic production, atmospheric synthesizers, and lush arrangements for strings, horns, and woodwinds.
There is a certain beauty just to being alive, and Ought make it their mission to find it through raw rock n’ roll that veers seamlessly between upbeat post-punk, meditative feedback drones, dramatic ballads, and cathartic guitar freak outs.
Recommended for fans of post-punk that blends the moodiness of Joy Division, Iceage, and Television with the experimentation and noisiness of This Heat and No Wave.
Released in 2010 on Constellation Records Format: 10″x2
Released in 2012 on Constellation Records Format: LP + 7″
Released in 2019 on Constellation Records Format: 12″ EP
Released in 2000 on Constellation Records Format: LPx2
Released in 2011 on Constellation Records Recorded 2009-2010 Format: LP
Style: Experimental Rock, Post-Rock
Influences: Kosmische Musik, Minimalism
Vibe: Minimalistic, Exploratory, Spacey, Raw, Noisy, Abstract
Musical Attributes: Instrumental, Repetitive, Analogue Recording
Released in 2008 on Constellation Records Format: LPx2
These impassioned, and often mournful, renditions of klezmer folk songs (both traditional and original) are infused with elements of free jazz, drone, and chamber music to create something both rooted and urgently modern (Even 15 years after its release). The mostly acoustic band features violinist Jessica Moss (also of Silver Mt. Zion) and upright bassist Thierry Amar (asmz, GY!BE) in addition to singer/multi-instrumentalist Scott Levine Gilmore and Clarinetist/Guitarist Gabe Levine.
“Side A is cut at 45rpm and features “Moya”, a broiling cascade of upward scales that repeatedly explodes beyond its own threshold. “BBF3” on Side B clocks in at 18 minutes, and was the band’s most lyrical, multi-movement music to date — more elaborated melodic figures wind around an angry spoken-word field recording (infamously culminating in the recital of the speaker’s poem — verses lifted straight from Iron Maiden)”
Whilst in Istanbul for an artist residency, the adventurous Canadian chamber rock group (featuring past members of Silver Mt. Zion and GY!BE) recorded with an ensemble of Turkish musicians, augmenting their core sound of cello, marimba, drums, and tenor banjo with the saz and several other instruments used in Turkish and Arabic folk music.
Eric Chenaux’s gentle falsetto is the most constant, tangible element on an album characterized by a permanent state of flux. The guitars are warbly and unsteady with their fluctuating tones, volume, and pitch. Yet, despite their experimental nature, they never sound abrasive and, together with some mellow Wurlitzer, create a soft, pillowy environment for Chenaux’s romantic crooning about the nature of love, the moon, and warm nights.
Album Information: Released in 1997 on Constellation Records Format: LP, includes inserts, a flyer, and a penny smashed by a train
Album Information: Released in 2014 on Constellation Records
Album Information: This album was self-released on CD in 1997 This pressing was released by Constellation Records in 2013 Format: 2xLP, 180g, Includes die-cut sleeve with 4 alternative cover inserts
Album Information: Released in 2007 on Constellation Records
Album Information: Released in 2000 on Constellation Records Recorded November 1999 at the mighty Hôtel2Tango
“Recorded in an old wooden barn, this second album is swaddled in twilight autumnal ambiance. While the record is bookended by the band’s awesome psych-rock explosions, much of the material here shows increased referencing of jazz influences (modal horns, brushed percussion) and a more organic deployment of micro-electronics. Raw and polished, visceral and cerebral, the band combines rock and jazz traditions of space music with the ‘instrumental’ potentials of mixing room to present a true gem of a record.” (Press Release)
Album Information: Released in 2009 on Constellation Records Tracklist A1 – Do A2 – Make B1 – Say B2 – Think
Godspeed’s last album before their 10 year hiatus was produced by the legendary Steve Albini, resulting in what might be their heaviest and most direct album to date. Coming off the heels of September 11th, Yanqui U.X.O. seems to be a reaction against the ramped up military-industrial complex and its promotion of fear and xenophobia, as well as protesting Israel’s treatment of Palestinians. The back cover even goes as far as connecting each major record label to some type of weapons manufacturer.