Released in 1991 on Touch and Go Records 2000’s pressing Format: LP
Released in 2016 on Thrill Jockey Records Format: LP
Released in 2004 on Constellation Records Format: LPx2
Released in 2009 on Thrill Jockey Records Format: LP
Originally released in 1999 on Chemikal Underground 2014 Deluxe Pressing Format: LPx4 box set, includes poster
Released in 1998 on Drag City Format: LP
Released in 2007 on Temporary Residence Format: LPx2, etching on D-side
Originally released in 1991 on Polydor 2011 pressing on Ba Da Bing Records Format: LP
Originally released in 1999 on Temporary Residence 2016 expanded edition
Doug McComb’s first album as Brokeback is imbued with pastoral Impressionism, experimentalism, and a sense of Zen contentment. The record is mostly centered around his Bass VI, a short-scale bass with six strings that is trebly enough to function in both guitar and bass roles. This versatile instrument is usually wet with chorus and reverb that sculpt a fluid, aquatic tone to complement the slow, tranquil melodies. Outside of some solo pieces Doug is joined by a variety of accompaniment including lap steel guitar, synth, upright bass, Rhodes, vocals from Mary Hansen, and light percussion provided by producer/Tortoise bandmate John McEntire. This is a record that can be appreciated from a passive impressionistic standpoint, as well as under the microscopic attention of an engaged ear. (Follow link for full review)
Recommended for fans of Tortoise or Ennio Morricone’s spaghetti Western soundtracks
Released in 1996 on Happy Go Lucky Format: 12″ EP
The third album from the Melbourne (Au) violin/guitar/drum trio consists of loose, drifting instrumentals that conjure images of vast, open plains. Though the music here is often melancholic and lethargic, it is occasionally swept up with bursts of passionate energy and possessed by cathartic longing (especially the pleading and utterly beautiful violin solo on “Warren’s Lament”). All three instrumentalists have very individual styles that complement and dialogue with each other in refreshingly unique ways.
Darkly cinematic rock instrumentals with some creeping, Dostoevskian vibes. This is probably the most meticulous and progressive album I’ve heard from these guys, who are always finding new ways of funneling their omnivorous library of influences into their dramatic and atmospheric psych rock stylings.
“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)”
“Recorded during the same session as last year’s sublime Angels of Darkness I, the followup sees Dylan Carlson’s Earth take their panoramic instrumentals, heavy on improvisation this time, into uncharted territories. As with so much of Carlson’s work, these five songs suggest a mournful last dance in the decrepit roadhouse of some faded midwest mining town. But its the little flourishes that make them truly majestic: the droning psyche-folk thrum of His Teeth Did Brightly Shine; the country twang and graceful melodies of A Multiplicity of Doors”…”
The Whole Thing is Just There is another beautiful and life-affirming release from Young Jesus, the second with the current L.A. iteration of the band. Their inter-band chemistry seems stronger than ever, with telepathic improvisations, symbiotic catharses, and a mutual love for each other that is easily felt from a listener’s perspective. The lyrics deal with self-exploration and one’s relationship with the world around them, finding solace in spirituality, existentialism, literature, and the ethos of free jazz. Stylistically the music seems rooted in late-90’s indie rock and emo, with seamless but adventurous detours into post-rock, noisy post-hardcore, and free improvisation. Excited to see where these guys go next.
Released in 2004 on Constellation Records Format: LPx2, Side D is blank
Originally released in 1996 on Thrill Jockey Records 2012 pressing
A unique blend of post-rock, stoner rock, and shoegaze crafted into a cohesive, perfectly fluid 25 minutes. Hallucinogenic atmospheres, shadowy guitar effects, and mysterious pitch-shifted vocals envelope driving, stoner-fuzz bass lines that often liquify into the watery chorus-bass you might find on the Cure’s Disintegration or an Isis album.
Space Age Pop
Information: Released in 2002 on Constellation Records
Compilation of 3 EPs released in 2013 on Temporary Residence Format: LPx2, etchings on each side
Album Information: Released in 1997 on Constellation Records Format: LP, includes inserts, a flyer, and a penny smashed by a … More
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: … More
Album Information: Released in 2007 on Constellation Records
Album Information: Released in 2012 on XL Recordings Format: LPx2
Album Information: Released in 2000 on Constellation Records Recorded November 1999 at the mighty Hôtel2Tango
Released in 2017 on Temporary Residence Records Format: LPx2
“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 – … More
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.