Mexican Summer Vinyl, CD & Tape 36 Artikel

Einer der All-Time-Faves aus dem erweiterten Avant-Pop-Genre ist zrück. Ariel Pink, der Künstler aus L.A. hat bis datoschon über 20 Alben und EPs veröffentlicht. Anfang der2000er startete er mit etwas, das Kritiker wahlweise„Chillwave", „New Weird America“ oder auch „Hypnagogic Pop“ bezeichneten. Bis vor kurzem war er unverkennbar wegender langen pinkfarbenen Haare, auch wenn die nun eineretwas weniger auffälligen Frisur gewichen sind – undmanchmal sogar durch Cowboyhut und Stiefel ergänztwerden: Der Mann ist seinem Sound treu geblieben. SeineAlben sind manchmal vielleicht etwas vertrackt und kauzig,dennoch immer unterhaltsam. Klangteppiche auf, die an dasweiße Album der Beatles erinnern, Residents-artigeElektronika, Sixties-psychedelisches, jazziges und herrlichalberne Momente folgen aufeinander. Jedes Stück überraschtmit abwechselnden Harmonien, abrupten Rhythmuswechselnund / oder experimentellen Anteilen, die sogar ins Ohr gehen.

Los Angeles’s prodigal songwriting son Ariel Pink shares his eleventh studio album, Dedicated to Bobby Jameson, September 15. The album’s title makes a direct and heartfelt reference to a real-life L.A. musician, long presumed dead, who resurfaced online in 2007 after 35 reclusive years to pen his autobiography and tragic life story in a series of blogs and YouTube tirades. “His book and life resonated with me to such a degree,” Pink states, “that I felt a need to dedicate my latest record to him.” Dedicated to Bobby Jameson begins at the end and ends at the beginning. “We follow the protagonist through a battery of tests and milestones, the first of which sees him reborn into life out of death,” Pink explains, referencing the opening track “Time To Meet Your God.” “From there, he seesaws his way between the innocent love and the rock-solid edifice of childhood-worn trauma that together constitute his lifelong initiation into the realm of artifice and theatrical disposability.”

Limited edition for Black Friday RSD 2016!

Los Angeles’s prodigal songwriting son Ariel Pink shares his eleventh studio album, Dedicated to Bobby Jameson, September 15. The album’s title makes a direct and heartfelt reference to a real-life L.A. musician, long presumed dead, who resurfaced online in 2007 after 35 reclusive years to pen his autobiography and tragic life story in a series of blogs and YouTube tirades. “His book and life resonated with me to such a degree,” Pink states, “that I felt a need to dedicate my latest record to him.” Dedicated to Bobby Jameson begins at the end and ends at the beginning. “We follow the protagonist through a battery of tests and milestones, the first of which sees him reborn into life out of death,” Pink explains, referencing the opening track “Time To Meet Your God.” “From there, he seesaws his way between the innocent love and the rock-solid edifice of childhood-worn trauma that together constitute his lifelong initiation into the realm of artifice and theatrical disposability.”

On the Echoing Green is an elegant work of shimmering sound, rendered by eternal electric romantic Jefre Cantu-Ledesma. Conceived as an experiment in collaboration, On Echoing Green is eight rapturous and melodic slow dives of swirling guitar, bass, synthesizer, piano, and drum machines, accented by heavenly vocal arcs from Argentinian musician Sobrenadar and contributions from Alexis Georgopoulous and Byron Westbrook. This is music of growth and grandeur, of ascent and exploration; in tune with the beauty of sound and the harmony of light.

This alternate version of “Autumn Dawn” is the punchier demo recording from Kyle Mullarky’s home studio in Topanga Canyon. The instrumental, Mellotron heavy B-side “Hereafter” was recorded during Calico Review sessions at Valentine Studios and has never been released.

Calico Review' was recorded at the iconic Valentine Recording Studio, which gave the group access to historic recording equipment such as a 1964 Universal Audio 610 soundboard - the same board on which The Beach Boys recorded Pet Sounds. Now you know what to expect.

A companion to his last album Love is A Stream (Type, 2010), 13 Moons is a dense, swirling mass. Hypnotic guitar & drum performances coalesce with Modular synth squalls & otherworldly textures - combining overdriven guitars, avant-garde composition with the informal approach of underground tape weirdos (like Robert Turman, K. Leimer) into a lovely brocade of harmony & dissonance.

The sunshine of L’Orange, L’Orange isn’t just about brightness and bliss. It’s also about engrossing your mind – creating an omnipresence not unlike that shiny orange orb whose ubiquity defines our days and whose absence fills our nights. For Gregg Kowalsky, music can have that same kind of overpowering effect. The sounds of L’Orange, L’Orange can calm your nerves, warm your mood, and maybe even enlighten your mind.

The atmospheres and auras of Ariel Rosenberg - aka Ariel Pink - and Natalie Mering - aka Weyes Blood - assemble as new hues for Myths 002, the second edition of Mexican Summer's series inspired by - and conceived at - the label's annual Marfa Myths festival in the Texas desert. The four songs of Myths 002 capture musicians at play -- two distinct voices in pop music inexplicably, effortlessly folding into harmony.

Calico Review' was recorded at the iconic Valentine Recording Studio, which gave the group access to historic recording equipment such as a 1964 Universal Audio 610 soundboard - the same board on which The Beach Boys recorded Pet Sounds. Now you know what to expect.

Calico Review' was recorded at the iconic Valentine Recording Studio, which gave the group access to historic recording equipment such as a 1964 Universal Audio 610 soundboard - the same board on which The Beach Boys recorded Pet Sounds. Now you know what to expect.

Received a 7.1 rating from Pitchfork.More Faithful is No Joy's third full-length for Mexican Summer. Throughout the album, singer / guitarist Jasamine White-gluz, guitarist Laura Lloyd, drummer Garland Hastings and bassist Michael Farsky (formerly of Dirty Beaches' live band) push themselves to new peaks of intensity. Working with musician and producer Jorge Elbrecht (Ariel Pink’s Haunted Graffiti, Chairlift, Lansing-Dreiden), the band embraced a much more rigorous creative process. The outcome—a juxtaposition of unrest and calm, beauty and chaos, truth and fantasy, in the throes of maxed-out amps and hair-whipping guitar goddess rock music—is as unwavering as ever. At times heavier than anything they’ve done yet, while also their fastest—riffs shooting upward in discord and drifting down in angelic harmonies, More Faithful is the most forward, throttling record No Joy has made, taking their sound to the wall in a brazen display of beauty-laced power.

Waxing Romantic is the debut album from Canadian artist Travis Bretzer.Hailing from Edmonton, Alberta, 24-year-old Bretzer has an appropriatelysingular, off-beat take on guitar pop. An adroit songwriter and truetroubadour, Travis sidesteps easy pigeonholing. On his debut EP Making Love(Mexican Summer, 2013) he managed to touch on the new-pop of OrangeJuice, the playful idiosyncrasies of Prefab Sprout, with a freewheelingsensibility present in much of the Stiff Records catalog. On Waxing Romantic,Travis has stepped up the production in a big way, graduating from thebedroom to a full studio environment. Recorded at Gary's Electric in Brooklynand produced by Jorge Elbrecht the new environment has allowed for Travis'songs to be taken to new, fully-realized heights.

Torn Hawk is the audio project of producer and video artist Luke Wyatt. Over the past couple of years, Wyatt has unfurled a serial tapestry of content arguing for a reconciliation of aesthetic irony with compositional sincerity and emotional vulnerability. Let’s Cry And Do Pushups At The Same Time is Wyatt’s most recent full-length statement as Torn Hawk, and marks the onset of a more emotionally manipulative and sonically confident direction.It’s difficult to neatly categorize Wyatt’s genre-refracting productions, which formerly have found a home on L.I.E.S., Not Not Fun, Rush Hour’s “No Label”, 1080p, and several other labels, including his own imprint Valcrond Video. The nuts & bolts of Let’s Cry’s eight tracks are built from live guitar, drum machines, junky synths, and layers of acid-washed samples. Wyatt smears the disparate elements of each track into a cohesive whole that transcends the (banality) (thrift-store dustiness) of each: the result is a series of heart-tuggingly confessional watercolors, framed with cinderblocks and distressed leather.

With tunefulness equally indebted to pastoral psychedelia, punchy new wave and hyper-literate proponents of lofty 80s pop, The Fresh & Onlys swiftly moved through the ranks of venerable indie rock labels. Follow-up albums and a voluble slew of EPs on Woodsist, In The Red and Captured Tracks earned the group high critical praise, including a flattering New York Times feature, while Tim Cohen’s output with his folk-inclined act Magic Trick and Miles’ own solo career rode impressive trajectories of their own.

Lace Curtain is Mikey Young and David West from Total Control, Rat Columns, Ran/xerox, Eddy Current Suppression Ring et al., exploring an electronic world of pleasure, frustration and sadness. Bedroom dancers, synthetic singers, basement kicks in a romantic void. Influenced by the Germans, the Italians, pale British button pushers, glamorous alien pop futurists, Mid-Western sweat, NYC disco dreamers, undercover kings and queens escaping a dull grey world with rhythm and noise, sound and vision. The 3rd EP by Lace Curtain ushers in sounds both new and old to the Lace Curtain listener. A feeling of detached romanticism and dystopian fantasy hangs heavily over this recording, which was delivered to tape and hard drive in San Francisco, Melbourne and Rye, alone and together. "I Can't Wait" and "Lover's Fade" on Side A send affectionate yet fleeting glances in the direction of Chicago and Milano. A Korg from the past predicts the malfunctioning systems of the future. Pop is welcomed, confusion is courted. Side B drifts into headier territories. "Fortress" sweeps through percussive vistas and analog landscapes with the dream logic of an intoxicated tour guide, ending in rapturous murmurs. "Unfortunate Life" sends us down the rabbit hole of monolithic machinery and the abstractions of short-circuited lives. Limited edition of 1,000 with silkscreened jackets by Keegan Cooke. Includes download code.

When the three members of Quilt arrived in New York City in April to begin the intensive recording process for their second album, the new and aptly named "Held in Splendor", they stepped directly into spring. Anna Fox Rochinski, Shane Butler and John Andrews had spent much of the previous several months clutched away at “The Puritan Garage” in Boston’s Charlestown, shielding themselves from a winter of blizzards with the haven of their practice space and a set of fresh songs.

Travis' debut release on Mexican Summer will be followed by an album later this year.

Static Crash is magic, one of the most gorgeous collections of Gothic ethereal pop/noise of its kind to rise from the American underground in decades.One could easily believe its origin to be from 1983, or 1993, or even 2013. But its 2003 release found few takers, outside of a small but dedicated local following. At a time when rock & roll was obnoxiously forcing its way back from the morass of pre-millennial digital aimlessness, Ashrae Fax was finding ways to inject warmth and confidence into a mothballed musical form. Released in on spray painted CD-Rs, Static Crash's legend somehow grew even as the group fell apart. In 2005 the album was reissued on cassette, and six years later, North Carolina label Hot Releases offered to press up Static Crash on vinyl in an edition, which quickly sold out. Copies finally made it out to music writers, many of whom connected with the music on the very first spin. Off to the Internet they fled, trying to find more information on this group. Support swelled, and a whisper campaign finally found its way to Mexican Summer, who have committed to releasing the entire Ashrae Fax discography as well as an all-new album in the coming year, beginning with Static Crash. To mark this occasion, Ashrae Fax is reuniting to play live, beginning with a handful of performances and landing at Raleigh’s esteemed Hopscotch Music.

Lace Curtain is a new project from Australian wizards Mikey Young, Dave West and James Vinciguerra. The trio, who are involved in a myriad of punk and garage bands including Eddy Current Suppression Ring, Total Control and Rat Columns, veer in an entirely new direction on this EP for Mexican Summer. Each side shows the band approaching electronic music with a diverse interpretation that encompasses elements of Disco, Krautrock and Synth Pop. Comes in screen-printed single sleeve jacket.

Limited edition of 300!

Limited numbered edition of 2000, includes double sided 24"x24"poster!