Innovative Leisure Records 24 Items
F. Scott Fitzgerald’s The Great Gatsby was a work so filled with ambition, yearning, and inner contradictions that it came to represent the condition of a nation itself. Yet, at its core, the slim novel tells a story about people and, more often than not, their inability to communicate and connect with one another — forever running on parallel tracks until tragedy finally twines them together. The color green (often in the form of the faded sodium lit dock of Daisy Buchanan) comes to represent longing and unrequited love in an era (the Roaring Twenties) of decadence and spiritual vacuousness. Green is Gatsby’s North Star, simultaneously pointing backward and forward through time toward some unattainable, impossibly balanced version of his own life.
Nick Waterhouse, a century later but once again in the ’20s, takes the color blue as his hue of choice on Promenade Blue. In Nick’s musical and lyrical world, blue is a refraction of his life and memories — shadowing a deep, spiritual San Francisco that fostered his musical vocabulary but has now been stamped out irrevocably; evoking the endless tours, marathon recording sessions, and highs and lows of success he’s experienced in his decade-long career; conjuring romances that were doomed, loves that lingered, and hope for future days of parity and partnership; summoning spirits of people who have gone but permeate his mind forever. That’s the world of Promenade Blue — one that is vivid and magnetic, buoyed by both light and density due to Nick’s newfound collaboration with producer Paul Butler (Michael Kiwanuka, Devendra Banhart). It’s not Gatsby’s New York in the 1920s, it’s Waterhouse’s California in the 2020s. Nick makes that crystal clear throughout the record but particularly on “Santa Ana (1986),” where he wryly sings, “Not from New York / And I never was / I’m from California.” With that, he answers all questions about place and setting…but as anyone who’s ever listened to a Waterhouse record knows: time, though clearly pegged to the dawn of this new decade, is a more malleable concept. Where he is is clear. When he is varies.
We can try as hard as we can to make sense of Promenade Blue, but in reality, context isn’t really needed because the music on the album is so damn magnificent. In no uncertain terms, it represents Waterhouse’s finest hour as a writer and bandleader — leveraging the musical partnerships he has built over many years to put something forth that is so fully realized and felt that it sparkles beatifically, reverberating with energy, heart, creativity, and vibe from start to finish. Nowhere is this more evident than on the album’s opening track, “Place Names,” perhaps the most remarkable song in the Waterhouse catalogue.
The tune is a pocket symphony, à la Spector and Wilson, with winding piano lines locking puzzle-like into a whining, weeping string arrangement courtesy of musical blood brother J.B. Flatt. A small cadre of women backing vocalists shout “Never!” and Nick replies “I never cry on cold days / I never mind a trip on the freeway / Because it’s what I know / Never really set for the big change / Learn to let things go / And say blow wind, blow.” The freeways between LA and San Francisco; the memory of spending a teenaged evening in the Vesuvio Café, which looms over the entrance of City Lights Books; the wind ripping through you on a foggy Bay Area morning, cutting into your bones; the pride one takes in his hometown; the distinct life that he has made (or that has made him) — it’s all here in “Place Names” and, honestly, if the album were to end with this one song, Waterhouse would’ve done his service to the 2020s in terms of musical creativity and vitality. Thankfully for listeners, it’s just the beginning.
The album twists and turns from the opening to the close — from swinging, sashaying jazz and blues (“Spanish Look”) to jittering, crystalline doo wop (“Very Blue”) and pure, loose, languid mood music with just a hint of Mulatu Astatke’s Ethiopian modal magic (“Promène Blue”). Most striking, perhaps, is the use of men’s voices as a backing texture, bringing an unexpected thematic unity to many of the songs. Lower-than-low gospel chants and refrains lend both energy and emotional weight to these pieces, conjuring a whole new mythic world for Nick’s compositions. This is a statement album, one to get lost in and rediscover over and over again.
In the Waterhouse catalogue, “Promenade Blue” represents rebirth and reinvigoration as well as a clarity of purpose that elevates it and may one day set it apart as something resembling a magnum opus. It’s his ‘Gatsby’ and it’s also his way of reintroducing himself to a fanbase that has grown by leaps and bounds over the last couple of years. On this record, he paints a mythic picture of his own life — lost in confusion, grating against time, overheated by false memories, being baptized by nostalgia and a vision of the future that is paradoxically both dark and apocalyptic and sparkling with promise. Sounds a lot like America in the 20s to me. Which 20s though? Which color — green or blue? Which author? Try to figure it out for yourself:
“You were smiling at me / Hanging languidly / On your car door window / Very blue / Very green / The ocean breeze / And shuffling trees / Pacific seas.”
“And as I sat there brooding on the old, unknown world, I thought of Gatsby's wonder when he first picked out the green light at the end of Daisy's dock. He had come a long way to this blue lawn and his dream must have seemed so close that he could hardly fail to grasp it. He did not know that it was already behind him, somewhere back in that vast obscurity beyond the city, where the dark fields of the republic rolled on under the night.
Gatsby believed in the green light, the orgastic future that year by year recedes before us. It eluded us then, but that's no matter — tomorrow we will run faster, stretch out our arms farther. . . . And one fine morning——
So, we beat on, boats against the current, borne back ceaselessly into the past.”
Minds blog in 2013 with the caption “Mindblowing psychedelia from Thailand”. Helped by some interpreters at his local Thai
restaurant, sound engineer Josh Marcy travelled to a small village near Lom Sak to record the band professionally. The
result was their eponymous 2014 debut.
The music Khun Narin’s Electric Phin Band plays is called phin prayuk. A phin is a 3-stringed lute, on which the band uses
a string of BOSS effects pedals, including a phaser, distortion and digital delay. The ever-rotating cast of members spans
several generations of musicians who play on hand-made instruments and take special pride in their custom mobile PA
system: an imposing tower of 8 loudspeaker horns atop a huge bass cabinet. A standard engagement sees them
performing during morning rituals, playing several low-key sets from the comfort of plastic lawn chairs. After a mid-day
banquet, they lead a parade through the community to the local temple, picking up more and more partiers along the way.
A fan of their casual yet participatory playing environment, Marcy returned to Lom Sak in early 2015 to record more. II
features covers of traditional Thai pop songs, introduces some new players including new phin players Aob and Bas while
retaining some members of the old guard
Taking concepts that have long been percolating, this album is the musical version of a beachside, drop-top cruise -- punctuated by deeply human lyrics. Carpet Denim hits deep notes of introspective darkness with songs like “You Died,” a ballad-y jam that delves into the complex emotional wreckage of a father’s passing, and the album’s single, “Path of Totality,” about a close friend of the band’s who lost the fight against alcoholism.
These soulful forays are offset by Tijuana Panthers singular, upbeat sound, with the playful jam “Little Pampelmousse” that celebrates fatherhood and refers to Phil’s nickname for his new, beloved baby.
Then there’s “710,” a spirited coast down memory lane that embodies the band’s signature sunniness - all while reminiscing about growing up in Long Beach.
The culmination of the band’s many years on the road and making noise, Carpet Denim falls deeper into their weird and wild tendencies (there’s even a synthesizer that makes an appearance). It’s inspired by everything, from politics to the guys’ personal lives, Haruki Murakami and Twin Peaks. There’s the perfectly dissonant “TV People,” a creepy little number that combines simple guitar with a roving bass to create an abstract jam that’s hard to forget.
This album is the same garage-y Tijuana Panthers you love, but this time, they channel their unbridled energy into a moody maturation of their music. The band returned to their hometown of Long Beach, CA to record Carpet Denim at Jazzcats studio. Unlike earlier albums such as Poster and Wayne Interest - which were recorded in a flash-bang, marathon sitting, the band’s latest album was methodically assembled by Jonny Bell over multiple days. Pouring over production, Carpet Denim is a collective deep breath that weaves together years of songwriting -- all jam-packed with summertime vibes, peaks of punk rock and Tijuana Panthers’ signature oddball adventures.
He followed up with a bombastic debut album, Contact, an expertly crafted, extraterrestrial soul rumination on the ways we fail to connect, restart, and try again. It was also a transitional album. Made between the Bay and LA, it’s about the electricity of new connections, the distance of old friends.
Mall of Fortune is his second full-length album, an airtight meditation on anxiety, paranoia and indecisiveness – decision paralysis and the free-flowing guilt that follows. The bowl cut is gone, but the shine is intact.
Innovative Leisure this limited 7-inch from Tijuana Panthers own Phil aka Ottofix recorded by Jonny Bell in long beach, CA.
Post sense of space, post sense of place…heres an offering. A practical application of new objectivity per deep heaven. It’s a matter of fact that the heart of rock & roll is still beating. Practical application of the ransom is the only way out. There is no time left for casual looks or casual hooks. Contact with the black post is the offering. Ransom through the post black is a matter of fact, its a matter of fact, its a matter of fact…this is new objectivity…this is Ottofix.
album, Contact, the follow-up to his 2014 EP, New Era. Composed, arranged, co-produced and performed by your very
own himself, Contact is a concept album about communication and the contact we purposely, accidentally and inherently
struggle to make between friends, lovers and strangers, be them human or otherwise. And when it comes to the live show,
Harriet Brown will stun you. It’s an all-in-one package deal with sensual vocals, live loops, groovin’ drum machines, manic
guitar lines and thick synths, all at the hands of one being. It’s no secret that this multi-instrumentalist and producer is
influenced sonically and ethically by The Artist himself. And If Prince is his king, Sade is his queen, as they reside over an
ever expanding court of every genre that falls in between. Harriet Brown’s sound is not what you’d expect from a one man
band – sexual and sensitive, ambiguous and androgynous, prepare to be paralyzed by the sounds of Harriet Brown.
• rib crew neck
• Circle artwork printed on left chest
• regular fit
• 100% cotton single jersey
• rib crew neck
• Square artwork printed on front
• regular fit
• 100% cotton single jersey
Innovative Leisure Records
Innovative Leisure is an American record label from Los Angeles, founded by Nate Nelson, Jamie Strong and hanni El Khatib in 2010. Nate Nelson and Jamie Strong worked together at Stones Throw Records, Hanni El Khatib was Creative Director for the streetwear label HUF from San Francisco. They came together to give a framework for the artists and the music they believed in. Their first release was the debut of Lazer Sword, a duo from San Francisco. The common denominator of Innovative Leisure is not a certain sound, but the quality of the music. »At the end of the day, we are music fans that want to work with artists that we believe in and music that we enjoy. It’s really a simple concept, but we want it to be a family and a home full of incredible musicians and equally as important, incredible individuals.«(Jamie Strong) Equally important for the three founder next to the music is a certain penchant for fashion and design. There are not many labels like Innovative Leisure, that are focused on these three elements (music, fashion, design) equally. This makes them special in the label scene worlwide.