{"title":"Constellation","description":"\u003cp\u003e\u003c\/p\u003e\u003cp\u003eDistributed by \u003ca href=\"http:\/\/scdistribution.com\"\u003eSC Distribution\u003c\/a\u003e, Constellation has established itself as a reputable force within the music industry. The label's commitment to quality and artistic expression shines through in every release. Whether you're a fan of experimental sounds or simply appreciate boundary-pushing music, Constellation offers an unparalleled listening experience.\u003c\/p\u003e\n\n\u003cp\u003eDiscover the captivating world of Constellation today and immerse yourself in the extraordinary talent that this Canadian label has to offer.\u003c\/p\u003e","products":[{"product_id":"no-more-apocalypse-father","title":"No More Apocalypse Father","description":"\u003cp\u003eWe Are Winter’s Blue and Radiant Children is Mathieu Ball (Big|Brave) and Efrim Manuel Menuck (Thee Silver Mt Zion, Godspeed You! Black Emperor) and Jonathan Downs (Ada) and Patch (Ada). On \u003ci\u003eNo More Apocalypse Father\u003c\/i\u003e they present six modal lullabies drenched in seared distortion, slathered across striding electronic pulses.\u003c\/p\u003e\u003cp\u003eBall and Menuck began creating music in and for the bleakest moments of Montréal winters: “We’re honouring that idea of winter, when you come inside and your house is warm, a place that only exists because of how cold it is outside,” says Menuck. They later recruited Downs and Patch to flesh out their initial ideas. Menuck met them in 2015 when recording Ada’s final album at Montréal’s Hotel2Tango — where they reconvened to make this record.\u003c\/p\u003e\u003cp\u003e\u003ci\u003eNo More Apocalypse Father\u003c\/i\u003e is an album about witnessing bleakness from a place of safety. Carrying newfound descriptive depth, thanks to the quartet’s open-ended songs freeing him from writing in meter, Menuck likens his lyrics to photorealism. On opener ‘Rats and Roses’ he sings of an unnamed city struck by an unknown cataclysm, but the details are local: specifically, his neighbors inadvertently poisoning birds when tackling a rat infestation. It’s backed by blown out synths and guitars reaching a soaring crescendo. “Seeing things from a distance and not being able to intervene happens a lot on the record,” Menuck explains. “If you’re a feeling and thinking person, that’s just part of the human condition. We watch horror unfolding from afar, unable to do anything concrete to change it.”\u003c\/p\u003e\u003cp\u003eA powerless witness, able to describe but not intervene. ‘Dangling Blanket From A Balcony (White Phosphorous)’ references Michael Jackson holding his child over a hotel balcony in 2002 the bizarre media spectacle still lodged in Menuck’s psyche. This and the album’s closing track also elegize white phosphorous, a technology of war designed to light up battlefields but capable of inflicting horrific burns on those it touches. Illumination and horror in one, here underpinning scenes picturesque and terrifying. “The last song ‘(Goodnight)\u003c\/p\u003e\u003cp\u003eWhite Phosphorous’ is deliberately like a lullaby,” says Menuck. “Written from the viewpoint of watching white phosphorous falling outside your window.”\u003c\/p\u003e\u003cp\u003eScorched and tarnished and laden with harrowing imagery, \u003ci\u003eNo More Apocalypse Father\u003c\/i\u003e is also a record bathed in light: the bewilderment of hopeful spirits witnessing despair, watching a blizzard of distress unfold outside from a place of relative shelter and comfort. You could call that emotional ambivalence, maybe numbness. But those words are too passive for the weight of conflicted feeling resonating through the album.\u003c\/p\u003e\u003cp\u003e“I never know how I feel on an overcast day when the sun is still bright despite the grayness and the light is very flat. The colours become more saturated, and you see a single flower, say a morning glory, whose colour is so vibrant beneath the gray, I don’t know if that’s a lovely sensation or a terrible sensation. It’s both,” says Menuck.\u003cbr\u003eFor fans of Alexander Tucker, Nate Young, Microphones, Silver Mt. 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Fyear incorporates drone, out-jazz, post-classical, ambient metal, avant-rock, and modular synthesis in a sonic and stylistic palette the opposite of collage or pastiche: the Fyear ensemble integrates a unique and unified sound\/aesthetic while traversing adventurous and variegated terrain. Kellough’s poetic materiality conveys acute political-existential themes, alternating between declarative, meditative, and cut-up\/semiotic manifestations. \u003c\/p\u003e\u003cp\u003eThis self-titled debut album is a supremely innovative 40-minute multi-movement work; an ardent mission statement that mines the interzone where Saul Williams, Moor Mother\/Irreversible Entanglements, Shabazz Palaces, Zulu, Angel Bat Dawid, Damon Locks\/Black Monument Ensemble, Shabaka Hutchings, and Matana Roberts are all iconoclastic neighbours. Fyear melds improvisation and composition, traditional notation and graphic scoring, electronic and acoustic instrumentation, lucid recitation and abstract vocalization, balancing intensive structure with an expansive sense of exploration. Through several years of collaboration, development, workshops, commissions and performances conducted by Sharp and Kellough, their wordsound practice has culminated in this nine-piece group which also features poet\/writer\/activist Tawhida Tanya Evanson (present director of the Banff Centre Spoken Word program) violinists Josh Zubot and Jesse Zubot (Tanya Tagaq, Darius Jones, Joshua Hyslop), pedal steel player Joe Grass (Tim Hecker, Patrick Watson), drummers Stefan Schneider (Bell Orchestre) and Tommy Crane (The Mingus Big Band, Aaron Parks), with live visual [typo]graphics from Kevin Yuen-Kit Lo, who also designs the album art. Propelled by the vocal interactions of Kellough and Evanson, Fyear interrogates our present and future post-capitalist polycrisis, invoking collective anxieties, emotions, and critiques. Fyear re-poetizes our constructed, manipulated social\/conceptual realities, re-inscribing questions about the future by setting them to a wildly dynamic and evocative temporal soundtrack: Who does it belong to? How will it be shared? How do we project a collective future into the contested challenges of climate change, global migration, wealth gaps, safety\/precarity, identity\/affinity, segmentation \/ segregation, all our seemingly irreconcilable histories and forward visions for the world we dream to inhabit?\u003c\/p\u003e","brand":"Constellation","offers":[{"title":"Black LP","offer_id":50382791606603,"sku":"2184707","price":27.99,"currency_code":"GBP","in_stock":true},{"title":"CD","offer_id":50382792098123,"sku":"2184722","price":14.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/FYEAR_-_FYEAR_08d0b6a3_thumbnail_4096.jpg?v=1726259353"},{"product_id":"born-into-trouble-as-the-sparks-fly-upward","title":"Born Into Trouble As The Sparks Fly Upward","description":"\u003cp\u003eThe second Silver Mt Zion album featured an expanded band, with a similarly expanded band name. 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The calm after this storming piece comes by way of another vocal tune, this time fragile and near-whispered, with dual lines that alternately mask and reinforce each other. \u003c\/p\u003e\u003cp\u003eA piano and cello interlude prefaces the last side of the record, which features two guitar-driven songs, the first a blazing rock piece that builds to an exuberant distorted climax, the second as close to a pop masterpiece as this band is likely to craft, highlighted by a lovely arpeggio guitar riff and the defiant refrain “musicians are cowards”. While remaining anchored in an underlying sadness and mourning over this failed world, this album reveals an angrier, more urgent face as this unique ensemble charted ever-widening sonic and emotional terrain.\u003c\/p\u003e","brand":"Constellation","offers":[{"title":"Black 10\"x2","offer_id":50389188346187,"sku":"1162113","price":22.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/73072efc-76e8-44d9-9585-b6ca2458b190_thumbnail_4096.jpg?v=1726354935"},{"product_id":"fourth-album","title":"Fourth Album","description":"\u003cp\u003eThe Montréal-based avant-garde electronic composer \/ producer follows up his acclaimed Third Album, rallying players from local improv group Egyptian Cotton Arkestra to add new electroacoustic materiality to his abstract soul.\u003c\/p\u003e\u003cp\u003eThe follow-up to his acclaimed Constellation debut Third Album released in lockdown spring 2020, Markus Floats returns with \u003ci\u003eFourth Album\u003c\/i\u003e, pushing the Montréal-based artist’s distinct abstract electronic compositions into newly evocative terrain (while preserving his record- titling literalism). Faced with another couple of years spent unexpectedly, though not unfamiliarly, secluded and studio-bound, working on both paintings and music, Floats emerged by the end of 2022 with a set of tracks “about 60% finished” and a determined desire to throw off the shackles of distancing and isolation. “I had always thought about Markus Floats as a solo project but I am wrong about that. Fourth Album is about asking for help, inviting in, and making a home. It’s about trust, exploration, and the effort of letting go.”\u003c\/p\u003e\u003cp\u003eSharing his in-progress recordings with a trio of close friends and collaborators from the powerhouse free music ensemble Egyptian Cotton Arkestra, each of these players then spent a day improvising to the tracks at Montréal’s Hotel2Tango studio. With violin by Ari Swan, saxophone and mbira by James Goddard, and guitar and drums by Lucas Huang, Floats stitched their extemporized instruments back into his compositional process. The result is a fluid, lustrous, dynamic expansion of his sound and structure that continues to strike the ineffable balance of abstraction and soulfulness rightly highlighted and celebrated in the critical response to Third Album. \u003ci\u003eFourth Album\u003c\/i\u003e sustains much of that previous work’s enchanting equanimity, while inviting a bit more restlessness, accident and grit, with the incorporation of acoustic instruments and improvisation melding Floats’ own background in Electroacoustic Studies and Jazz Performance more than ever before.\u003c\/p\u003e\u003cp\u003eSignature avant-electronic explorations of arpeggiated and timbral transformation, subtle shifts in harmonic consonance and dissonance, and a through-composed praxis that draws coterminously upon free jazz, musique concrète and modern Minimalism, all continue to shape Fourth Album to great effect. But an additional palette of sonic and gestural raw material is now also decidedly “out-of-the-box”, charting a wider range of gestures, textures and temporalities. \u003ci\u003eFourth Album\u003c\/i\u003e complexifies and intensifies across its 12 tracks, thematizing dualities and introducing new elements of play and accident, even a sort of looseness here and there, as it conjures communal expressivity within shorter, still scrupulous formal structures. Fourth Album also for the first time includes spoken word as a recorded element, previously only (and always) a feature of Markus Floats live performances. The album’s final track samples the poet and activist Fred Moten, closing with these words: “What we’ve been trying to figure out how to get to is how we are when we get together to try to figure it out.” This koan of socially-engaged process and creation\/advancement of meaning through praxis and immanence reflects the unique fusion of intangible materiality and affective sensibility at work in Markus Floats music, unfolding in new depths and currents with \u003ci\u003eFourth Album\u003c\/i\u003e.\u003c\/p\u003e\u003cp\u003eFor fans of Terry Riley, Klein, Nosaj Thing, Floating Points, Deru, Joshua Abrams\/Town And Country, Flying Lotus, Hiroshi Yoshimura, Sarah Hennies, Jan Jelinek\u003c\/p\u003e","brand":"Constellation","offers":[{"title":"Black LP","offer_id":50394299171147,"sku":"2053114","price":27.99,"currency_code":"GBP","in_stock":true},{"title":"CD","offer_id":50394298843467,"sku":"2053113","price":17.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/d351b5cb-5423-ccc3-5cb0-8469dc7fbbbf_ec12d628_thumbnail_4096.jpg?v=1726435899"},{"product_id":"coin-coin-chapter-five-in-the-garden","title":"Coin Coin Chapter Five: In The Garden","description":"\u003cp\u003eCelebrated composer, performer, saxophonist, soloist, band leader, educator, activist, and mixedmedia artist Matana Roberts returns with a new installment of their acclaimed Coin Coin series. For over a decade, Coin Coin has been the central artistic project for Roberts, a remarkable exploration of American ancestry and the nature of memory through “sound quilting”: modern composition that draws on a wide range of musical sources and traditions, along with researchdriven historical and genealogical narratives that yield prose and poetry both spoken and sung, field recordings, and graphic scores. \u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003ci\u003eCoin Coin Chapter Five: In the Garden...\u003c\/i\u003e is the first new recorded audio chapter since 2019 and centers upon reproductive rights, summoning the story of a family ancestor who died in early adulthood, from a cause kept obfuscated and hushed, shrouded in disinformation and shame. 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Angell has also worked with Daníel Bjarnason (Ben Frost, Sigur Rós), Arve Henriksen (Supersilent), Lisen Rylander Löve (Midaircondo), Liam O’Neill (SUUNS), Wildbirds \u0026amp; Peacedrums, Patrick Watson and more. Erika Angell still remembers the first time she sang this way. The Swedish-born musician was three and a half years old, alone at dusk atop a hill, staring down at the landscape around her parents’ farm—tangled woods, darkening houses—and from somewhere deep inside her, she found a voice. It was a song without language, without any specific melody; it was flowing and easy and free. “This memory still defines the essence of living, to me,” she says. A memory of pure music: untamed, unhesitant, open-hearted. Four decades later, now based in Montreal, Angell is “coming back to the beginning, somehow” with a debut solo album that reaches back toward that early childhood evening on a hilltop, when the music was raw, solitary and boundless. \u003c\/p\u003e\u003cp\u003e\u003ci\u003eThe Obsession With Her Voice\u003c\/i\u003e is an expression of Angell’s inexhaustible love for art and music, a celebration of all the ways she has learned to articulate her instrument, a work of experimental exploration and feminist power that shimmers, cracks and shatters as it gathers the strands of one woman’s musical life. As a child, Angell was taught lieder and opera music by her choir-leader mother; as a teenager in the countryside, she spent all of her days studying jazz; later, she’d explore free improv and post-industrial electronics in a duo called The Moth. 14 years ago, Angell founded the acclaimed, Polaris-nominated band Thus Owls, whose five LPs have traversed jazz and indie rock’s outer reaches. Angell has also collaborated with artists ranging from Daníel Bjarnason (Ben Frost, Sigur Rós), Arve Henriksen (Supersilent) and Lisen Rylander Löve (Midaircondo) to Liam O’Neill (SUUNS) and Patrick Watson, as well as inaugurating the New Music trio Beatings Are In The Body with Róisín Adams and Peggy Lee. \u003c\/p\u003e\u003cp\u003eThe ten tracks on \u003ci\u003eThe Obsession With Her Voice\u003c\/i\u003e form a riveting collage, blending Angell’s searing and searching vocals with synths and electroacoustics (mixed brilliantly by Sam Woywitka), Jonathan Cayer’s mazelike string arrangements, and incandescent drum improvisations by Mili Hong. Songs like “One”, “Temple” and “Open Eyes” are poetic, through composed song-sculptures, musing on identity and disagreement. “Never Tried to Run” evokes Angell’s childhood idol Nina Hagen, weaving a snaky, sultry portrait of change, while “Up My Sleeve” shivers with a vivid worldliness: the singer in a state of emergency, watching the flames climb higher. Angell never gives in to cold experimentation or the willfully abstruse; even a song like “German Singer,” which narrates a concert over processed vocal snippets and a metronomic pulse, is fundamentally an invitation: a tribute to art’s value, to its power to seduce. Throughout, Angell pushes and processes her voice, plunging overtop noise and percussion, tracing melodies of fearless complexity, instantaneity and conviction. Listen for echoes of Scott Walker’s The Drift, Jenny Hval’s Blood Bitch, Brigitte Fontaine’s Comme à la radio and Sidsel Endresen \u0026amp; Stian Westerhus’s Bonita. \u003c\/p\u003e\u003cp\u003e“I was interested in the meeting-point between being ‘in’ yourself, ‘in’ your own world, and when you meet the outside,” Angell says. “I’ve never forgotten my evening on the hill—singing freely, without judging myself. Sending my energy out into the air. When I’m able to do that, bridging that breaking-point, it feels like a good thing. For the world, and for me too—to remind myself, and everyone, that we can do it. That it’s allowed. We can hold all these real faces of ourselves, in front of each other, and show each other that attention.” \u003ci\u003eThe Obsession With Her Voice\u003c\/i\u003e is Erika Angell’s attempt to express a feeling: a windswept one, raw and unfeigned. Songs that explode, music that trembles like a vibration on a string—a singer sharing an insight and also a wish. “The sting above the heart…” she sings on “Let Your Hair Down,” “What does it mean? 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UNDOING A LUCIFERIAN TOWERS – look at that fucking skyline! big lazy money writ in dull marble obelisks! imagine all those buildings much later on, hollowed out and stripped bare of wires and glass, listen- the wind is whistling through all 3,000 of its burning window-holes! \u003c\/p\u003e\u003cp\u003e2. BOSSES HANG – labor, alienated from the wealth it creates, so that holy cow, most of us live precariously! kicking at it, but barely hanging on! also – the proud illuminations of our shortened lives! also – more of us than them! also – what we need now is shovels, wells, and barricades! \u003c\/p\u003e\u003cp\u003e3. FAM \/ FAMINE – how they kill us = absentee landlord, burning high-rise. the loud panics of child-policemen and their exploding trigger-hands. with the dull edge of an arbitrary meritocracy. neglect, cancer maps, drone strike, famine. the forest is burning and soon they’ll hunt us like wolves. \u003c\/p\u003e\u003cp\u003e4. ANTHEM FOR NO STATE – kanada, emptied of its minerals and dirty oil. emptied of its trees and water. a crippled thing, drowning in a puddle, covered in ants. the ocean doesn’t give a shit because it knows it’s dying too. \u003c\/p\u003e\u003cp\u003eFinally and in conclusion; The “luciferian towers” L.P. was informed by the following grand demands: \u003c\/p\u003e\u003cp\u003e+ an end to foreign invasions \u003c\/p\u003e\u003cp\u003e+ an end to borders \u003c\/p\u003e\u003cp\u003e+ the total dismantling of the prison-industrial complex \u003c\/p\u003e\u003cp\u003e+healthcare, housing, food and water acknowledged as an inalienable human right \u003c\/p\u003e\u003cp\u003e+ the expert fuckers who broke this world never get to speak again \u003c\/p\u003e\u003cp\u003emuch love to all the other lost and wondering ones, xoxoxox god’s pee \/ montréal \/ 4 juillet, 2017.\u003c\/p\u003e\u003cp\u003eLP - Heavyweight 180 Gram audiophile pressing from Optimal (Germany) and comes in a Gatefold jacket printed on uncoated paperboard with a printed inner dust sleeve and a 24\"x24\" pull-out poster that re-caps all four of the artwork panels created by Godspeed You! 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Working with sound engineer Greg Norman (Electrical Audio) at studios in North Carolina and Montreal, Godspeed You! Black Emperor slowly and steadily put the new album together through late 2013 and 2014, emerging with a mighty slab of superlative sonics, shot through with all the band's inimitable signposts and touchstones: huge unison riffage, savage noise \/ drone, oscillating overtones, guitar vs. string counterpoint, inexorable crescendos and scorchedearth transitions. Following Godspeed's return from a long hiatus at the end of 2010 to begin playing live shows again, and with the hugely acclaimed \u003ci\u003eAllelujah! Don't Bend! Ascend! \u003c\/i\u003erelease in 2012 marking their first new release in a decade, the group continued to perform regularly on their own headlining tours (and as headliners at many leading festivals), often including a new multi-movement piece in concert over the past couple of years. Known to fans and through live show recordings by the sobriquet \u003ci\u003eBehemoth\u003c\/i\u003e, Godspeed You! Black Emperor has gradually distilled this new work down to a fastidious and uncompromising essence in the studio, with the swing-time swagger of the opening unison riff in \u003ci\u003ePeasantry\u003c\/i\u003e or \u003ci\u003eLight! Inside of Light!\u003c\/i\u003e giving way to increasing microtonal divergences and an exhilarating immersion in the harmonic power of massed amplified instruments, before collapsing into some of the most visceral and unalloyed noise \/ drone the band has yet committed to tape on \u003ci\u003eLambs' Breath\u003c\/i\u003e and \u003ci\u003eAsunder, Sweet\u003c\/i\u003e. 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Joyfultalk offers up instrumental compositions that flow like wordless rivers and glitching fields of electricgrass, through a bric-a-brac vocabulary of handmade electronics. Their music channels a sonic regionalism influenced by the craggy treelines and babbling brooks of Lunenburg county, with gnarled jamscapes rendering natural spaces in a hazy parallel universe, navigating the astral plane by way of their rugged Maritime environs. \u003ci\u003ePlurality Trip\u003c\/i\u003e is an extension and refinement of the duo’s junkshop practices, drawing from contemporary dark trance and techno, while rooted in the outré swamps of krautrock and the refracted webs of noise and dub. Though heavier than its predecessor, the weight is never debilitating – Crocker and Dicey roam the shadows with rugged tones that reveal an expansive core. Pulled into a half-sped ghetto tech mirage, woozy on new-age overdose, the listener may be lulled into a key-run reminiscent of Mahmoud Ahmed before eddying into a whirlpool of industrial jank. Heady and skitteringly kinetic, \u003ci\u003ePlurality Trip\u003c\/i\u003e unfolds like a fever dream shot through with dappled forest light and darkening skies. 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Familiar Science rallies contributions from a larger cast of musicians into a looser, cosmic recombinant combo still shot through with Joyfultalk s singular mixing desk kinetics, but this time deep-diving into gnarled and twisted, spliced and diced out-jazz. Crocker draws inspiration from 1980s M-Base music and Ornette Coleman’s harmolodic funk period, while his own prior history as an improv guitarist also resurfaces for the first time in many years.\u003c\/p\u003e\u003cp\u003eFamiliar Science finds Crocker folding time (as lockdown will do), immersed in his present-day kaleidoscope of solitary art and music practices in rural Nova Scotia, while channeling his former life as a bustling jazz collaborator in Calgary, Alberta. Building outwards from roiling resampled acoustic drums, Crocker extracted additional sonic and rhythmic textures, then formed the head of each song using dusted-off archival recordings and his own bass, keys and midi sequencing. Albertan percussionists Eric Hamelin (Ghostkeeper, Chad Vangaalen) and Chris Dadge (Lab Coast, Alvvays) provided improvised drum tracks to be chopped and harvested; Nova Scotia-based Nicola Miller (Ryan Driver, Doug Tielli) laid down resplendent excursions on saxophone and flute; Crocker’s own dexterous guitar appears on several cuts. 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Colin's membership in Bon Iver over the past two years has also led to vocal contributions from Justin Vernon for this record, who appears on four songs, with a diverse approach on each, and whose voice constitutes the only overdubbing on the album. The new record's 15-minute centerpiece, title track 'To See More Light', is the longest piece Stetson has yet recorded and possibly the heaviest: a tour de force of swirling arpeggiation, continuous breathing, pumping valves and vocalizations through the reed of the horn that gives way to a tremendous, screaming, sea-sawing dirge through the song's final movement. This latter stretch conjures a sort of saxophonic sludge metal, and the album's heaviosity references other sub-genres of metal as well, most notably in the hardcore blast of 'Brute' (abetted by Vernon's cookie monster barking) and the ambient grindcore throb of 'Hunted'. In other instances, the album is soulful and even hymnal, especially where Vernon's vocals play a lead role: opener 'And In Truth' (featuring Vernon's most instantly recognisable contribution, of massed, multi-tracked harmonies), the cover of Washington Phillips' gospel tune 'What Are They Doing In Heaven Today', and 'Among The Sef' where Vernon (singing a lyric written by Stetson) delivers one of the more tender and honest vocal performances we've heard from him in any context. 'New History Warfare Vol. 3: To See More Light' is the most cohesive and fully realized of Stetson's solo albums to date. It should reliably stand as the apotheosis of the New History Warfare trilogy, and certainly signals the full flourishing of Stetson's unique talents as both composer and performer, pressing his arsenal of virtuosic saxophone techniques into the service of vivid, impassioned and conceptually astute songcraft.CD in Gatefold paperboard jacket. 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Its intricate construction, unnerving atmospheres, and knife-edge take on avant-pop prompted comparisons to early PJ Harvey, This Heat, and Gazelle Twin. A remix EP with work by claire rousay, Ami Dang, Cecile Believe, and Pelada brought collaborative perspectives to four Crease tracks, offering new pathways within those songs.\u003c\/p\u003e\u003cp\u003eThere's a hypnotic post-punk somnambulance to it all, using the repetition and fracturing of melodic phrases interwoven with delicate electronics to create curious and persistent hooks. While not a concept album, themes of time's passage, remembrance, and decay crop up across multiple tracks. Each track intentionally only has four elements—guitar, electronics, and two other instruments, with Kee's voice and guitar pushed to the front. Within this minimalist framework, the juxtaposition of beauty and discomfort that is key to the Kee Avil sound stands out in skin-prickling relief. \"We're shaped by many versions of ourselves,\" says Avil. \"I was looking back at these versions of myself and what could have been, what didn't end up being and what did end up being, and going back like that through time. 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Melanson has a long list of involvements that include Bernice, Joseph Shabason, and U.S Girls, and a recent release with his Impossible Burger project on Chenaux’s own experimental label Rat-drifting, but this marks the first fulsome involvement between the two as players on a recording.\u003c\/p\u003e\u003cp\u003eIn many ways \u003ci\u003eDelights Of My Life\u003c\/i\u003e also picks up right where Chenaux’s previous album left off, in its subversions of a classic, timeless jazz-inflected balladry, while the interplay of the trio formation indeed unfurls many new delights. Recording together at Chenaux’s spartan home studio in rural France, Driver’s harmonically warped organ and Melanson’s electroacoustic sampling and percussion hold time in newfound ways. Where previously Chenaux relied on a freeze\/sustain pedal and minimalist rhythmic triggers to generate both pulse and chordal foundations, Melanson now paints timekeeping with expressive and intricate colourations, through live deployments of fluid sampled percussion (including orchestral timbres like timpani, kettle drums, and woodblock) that blur the boundaries between acoustic and electronic. Driver also ramps up his role in the song arrangements (prefigured in his support playing on Say Laura), teasing out chords and melodic filigree on Wurlitzer that percolate more prominently with Chenaux’s signature fried guitar solos and succulent singing. Both trio members add dulcet backing vocals, most notably on the 10-minute tour-de-force of fuzzed and ring-modulated swing “This Ain’t Life” that opens the record. 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Drew Brown, Matthew Cooper, Susumu Mukai and Andrew Zukerman join Perri again on a variety of synths and machines, along with violinist Jesse Zubot (Tanya Tagaq, Fond Of Tigers). Perri also continues to add organ and piano to the mix, while Volume 3 notably features firsttime Off World contributors Nicole Rampersaud on trumpet and Martin Arnold on guitar, both mainstays of Toronto's vibrant improv and out-music scenes. The Quietus calls Off World \"genuinely explorative…the musical equivalent of a Dali-esque landscape\" which through all sorts of genre-defying twists and turns, at times evokes \"off-kilter, late Miles Davis ambience\". Off World 3 doubles down on that jazz-adjacent trope in certain respects, while holding fast to Pitchfork's dictum that Perri \"cultivates his own genreless brand of futurism.\" Marked by longer tracks than previous collections, three of the album's five songs clock in around the 10-minute mark, where overtly improvised instrumental playing wends its way across alternately bubbling and woozy electronic beds. \"Impulse Controller\" is a languidly skewed rhumba where ambling melodic undercurrents and dubby electronic pointillism provide a dulcet promenade for Rampersaud's Miles-esque trumpet excursions. \"Ludic Loop\" see-saws along in a slow synthy two-step, punctuated by Perri's restrained piano chords and Arnold's fried electric guitar. \"Empasse\" is perhaps most reminiscent of earlier Off World collections, though again slowed and stretched, with oozing synth bass ostinatos counterposed by ambient layers of viola and violin filigree from Zubot. These three centerpiece longform tracks each highlight one of the album's instrumental improvisers, and taken together, make for the most scintillating sedate and ruminant album in the trilogy. Off World 3 sounds as sui generis as ever, but in wrapping up the series, Perri sprinkles the project's emblematic alien surrealism with decidedly anthropic elements and temporalities. This final volume in the trilogy could also be seen as a re-statement of the politico-aesthetic mission that Pitchfork aptly celebrates in its glowing reviews of Perri's two most recent solo albums, In Another Life (2018) and Soft Landing (2019), that were released between Off World 2 and the present volume: a uniquely purposeful, subtly detailed cannon of songs \"busy, vibrant, and bursting with life, but that aren't ever in a rush to get anywhere\". 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Featuring guests Jim White (Xylouris White, Dirty Three) and Thierry Amar (Godspeed You! Black Emperor.\u003c\/p\u003e\u003cp\u003e\u003ci\u003eGalaxy Heart\u003c\/i\u003e is the companion album to Phosphenes (Nov 2021) and completes an intensive body of work that Montréal composer-violinist Jessica Moss wrote, performed and self-produced in deep isolation throughout 2020. As A Closer Listen wrote in its Top Ten Modern Composition list for 2021, “few musical voices represent so well the estrangement and intensity of our times; Moss is among the best of them.” \u003ci\u003eGalaxy Heart\u003c\/i\u003e consolidates this assessment, revealing the more exploratory and extemporaneous side of her profoundly expressive instrumental lyricism. Where Phosphenes showcased some of Moss’ most deliberate and accomplished post-classical compositions to date, Galaxy Heart quivers with a raw and searching energy, juxtaposing rough-hewn and honed pieces. Expanding the palette to include spiky semi-improvised electric guitar along with remotely-recorded guest contributions from drummer Jim White (Xylouris White, Dirty Three) and contrebassist Thierry Amar (Godspeed You! Black Emperor) on a couple of tracks, the album inscribes a (mostly) instrumental space of bristling anguish, melancholia, resoluteness and conviction.\u003c\/p\u003e\u003cp\u003eOpening with the distorted dissonant string clusters of “Resistance Creature” and the through-composed knock-out “Uncanny Being”, with White’s roiling drums and Amar’s upright bass the simmering substratum for Moss’ alternately gritty and rounded violin movements, Galaxy Heart pivots to electric guitar and sludged post-industrial drone on “This Continuous Spectrum”, a descending melodic motif recurring over doomy low-end bursts and a slow broken-steam engine beat. Side One closes with two vocal tracks: “Is There Room For All Of It” (again featuring White and Amar) has Moss singing and playing organ in a spine[1]tingling longform unison melody; the chilling title track “Galaxy Heart” calls back fractured electric guitar and droning pulse, with Moss belting out initially strangled, strident lines that give way to gently layered voicings in a cratered spaciousness these dynamics then cycling forward like the sequences of a dying star. Side Two features three superb violin études, each distinguished by Moss’ distinctively amplified violin timbres and her unique ear for the tropes of various folk traditions, interspersed with the plaintive but stately vocal song “Enduring Oceans”, and closing with “Opened Ending”, her mesmerizing contribution to Constellation’s Corona Borealis Longform Singles Series from 2020, previously released only as a digital track and short film by indie legend Jem Cohen (Fugazi’s Instrument documentary, Benjamin Smoke, Museum Hours). Galaxy Heart is cosmic music of dark matter and interstellar dust, of gravitational waves and celestial grit that connect messy terrestrial life with its human, animal, natural suffering and beauty to chaotic and unruly universal forces.\u003c\/p\u003e","brand":"Constellation","offers":[{"title":"Black | LP","offer_id":50444274106699,"sku":"1165409","price":27.99,"currency_code":"GBP","in_stock":true},{"title":"CD","offer_id":50444274794827,"sku":"1165408","price":14.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/6d829d8d-cc21-426b-8ce7-d17490337fb5_thumbnail_4096.jpg?v=1727026512"},{"product_id":"therapy-with-colour","title":"Therapy With Colour","description":"\u003cp\u003eFor fans of Actress, Andrea Parker, Laurie Spiegel, Huerco S., Reinhard Voigt, Jan Jelinek, James Turrell. \u003c\/p\u003e\u003cp\u003e\u003ci\u003eTherapy With Colour\u003c\/i\u003e is the Constellation debut by Montréal-based producer and sound artist T. Gowdy, who has released three prior albums of exquisitely textured, predominantly ambient electronic music (most recently Pachira Aquatica via Shimmering Moods Records in 2019). His sublime audio \/ visual performances have featured at Mutek (Montréal and Barcelona) and Spektrum (Berlin), alongside his ongoing work as an in-demand producer \/ engineer with over fifty album credits to date, including Suuns (Secretly Canadian), Ensemble (Fat Cat) and Ada Lea (Saddle Creek) to name just a few. \u003ci\u003eTherapy With Colour\u003c\/i\u003e is Gowdy’s most sonically and conceptually acute solo work to date, inspired by experiments with the Nova Pro 100 Light and Sound Mind Machine (among the best-known home hypnosis ‘mind machine’ devices, first released in the late 1990s). For Gowdy, the ritualized therapeutic reprogramming of consciousness promised by this technology has two primary personal dimensions: “to explore psychological ‘debiasing’ and decorrelation of heteronormative narratives that exist within my familial, intimate and economic relationships; to let flow neutral communication with the self and others” and to circumvent the technical biases and temporal blockages endemic to digital audio workstations and the computer-based editing that governs production of most electronic music. \u003c\/p\u003e\u003cp\u003eThe album’s five tracks are extracted from live, linear, real-time stereo recordings that have their origins in an audio\/visual collaboration between Gowdy and light artist Laura Buckley (whose scanner artwork features on the album cover and packaging). The music on \u003ci\u003eTherapy With Colour\u003c\/i\u003e is indeed meditative, but in a resolutely contemporary and highly engaging way, eschewing gauzy New Age or environmental music tropes and instead conveying the rigour and empiricism of controlled experiments. Consistent with theories of ‘mind machine’ brainwave synchronization, these tracks involve oscillating, shimmering Minimalist pulse and techno-adjacent rhythm that reward active listening, while working coequally as dissociative concentration music. Each of the five songs has a distinct vibe but constitute a deeply satisfying and cohesive flow. From the day Gowdy dropped this record on us a few months ago, devoid of context or background notes, we’ve probably listened to it more than anything else – not realizing we’d been self-medicating. 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Arising from the fertile Montréal post-punk agit-prop scene of the early 2000s, the band comprises Scott Gilmore, Jessica Moss and Thierry Amar of Thee Silver Mt. Zion (Amar also continues to compose and play bass for Godspeed You! Black Emperor) and Gabriel Levine of Sackville. \u003c\/p\u003e\u003cp\u003eBlack Ox made two acclaimed albums of roiling acoustic avant-folk in the mid-2000s, exploring Eastern European and North African folkways through the lens of a gritty, resonant indie rock sensibility, juxtaposing interpretations of instrumentals from various Jewish, Romani and Arabic traditions with originals led by Gilmore’s politically-charged Yiddish vocals. These early albums have since become lodestars for many among a new generation of Yiddish, Klezmer and radical Jewish diasporic music practitioners and fans. First revealing its resurrection in February 2022 with a surprise flexi 7” single issued by left journal Jewish Currents as a gift to its thousands of subscribers, Black Ox has indeed fully and fruitfully reunited. Exquisitely recorded by Greg Norman (Jason Molina, Nina Nastasia, Electrical Audio), \u003ci\u003eEverything Returns\u003c\/i\u003e picks up right where the band left off: an incisively atmospheric, melancholic yet resolute album of uniquely modern Jewish folk music, with piano, violin, upright bass, clarinet and cymbalom making up the core instrumentation, and the vocal tunes sung primarily in Yiddish, alongside album centerpiece “Viderkol” and closer “Lamed-Vovnik” where English also features. \u003c\/p\u003e\u003cp\u003eThis is not fusion music, but diaspora music: a cross-cultural call and response of musical lexicons, emerging from the history of Jewish persecution and displacement, the musicology of 19th century repertoire from Jewish shtetls, the improvisational traditions of nusakh in Jewish music and taqsim in Arabic music, and a wider polyglot dialogue of Jewish, Slavic, Arabic, and Central Asian musical traditions. Lyrically and stylistically, Everything Returns connects key current issues from refugees forced to leave their homes, to the return of fascism and exclusionary nationalism—with the legacy of modernist Yiddish poetry and song. 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Expanding on the hypnaogogic ambience of their warm and uncluttered 2019 debut, Lasek and Ramsay add subtle but scintillating structure and electricity to these four new longform tracks. The songs remain predominantly beatless, but burble and vibrate with more ornate, intentional pulses, arpeggiators and control voltages. Light Conductor's analog palette of gently fuzzed-out chordal drone, mesmeric ostinato, sweeping filters and drifting levitational melody continues to colour the glowing atmosphere of this enveloping space\/trance music: like sunrise on another planet, with a profoundly satisfying dimension of heightened ceremony and design. \u003c\/p\u003e\u003cp\u003eWorking from recordings helmed by Ramsay in late 2019 and early 2020, made just before and after Light Conductor tours with Spencer Krug and Godspeed You! 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Juxtaposing stern foreboding electronics and minimalist motoric avant-rock, the \u003ci\u003eFrontera\u003c\/i\u003e studio album superbly captures the bristling, sculpted, intensely evocative instrumental pieces the band developed in close conception and collaboration with the dancers.\u003c\/p\u003e\u003cp\u003eAs the \u003ci\u003eFrontera\u003c\/i\u003e recordings demonstrate, this music also works powerfully and exceptionally well on its own: oscillating between tension and release; evoking open, anxious interzones and closed, claustrophobic spaces; conveying an overarching landscape of forbidden access, foreclosed movement, and the unfathomable multiplicities of trauma and resilience that occur under our dehumanising international apparatuses of inadmissibility and control. \u003c\/p\u003e\u003cp\u003e“Grid\/Wall”, “Fences” and “Parkour” combine electronics and spartan four-piece avantrock that set bodies in alternately furtive and laboured motion. The pulsing synthetics and noise textures of the more overtly technetronic “Scanner”, “Scaling”, “Body Pressure” and “Frontier” pin bodies down, whether hiding in corners, crawling for cover, or exposed to the searchlights. Field recordings contributed by David Bryant (Godspeed You! Black Emperor, Hiss Tracts, Set Fire To Flames) comprise some of the raw material here too. The \u003ci\u003eFrontera\u003c\/i\u003e album tracks faithfully to the narrative of the original work, where eight movements (featuring a company of 10 dancers) flow from controlled chaos and tensely choreographed kinetics to slow, wrenchingly austere set pieces. This tremendous multimedia performance - framed by the stark and peerless lighting design of United Visual Artists—is a discerning and deeply affecting meditation on borders and surveillance, resistance and separation, solidarity and cooperation; bodies blocked and restrained, monitored and pursued, hiding and escaping, yearning and overcoming.\u003c\/p\u003e\u003cp\u003eAfter touring as the live band for the \u003ci\u003eFrontera\u003c\/i\u003e dance production into early 2020, the pandemic brought further performance dates to an abrupt halt (along with Fly Pan Am’s own scheduled UK\/EU tours, in support of their terrific 2019 comeback album \u003ci\u003eC’est ça\u003c\/i\u003e). But during an easing of lockdown restrictions in late summer, the band was able to convene with Constellation’s go-to producer Radwan Moumneh at the storied Hotel2Tango in Montréal to put this soundtrack to tape. 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The future looks dark indeed, but on the evidence of this new recording, Godspeed appears wholly committed to staring it down, channeling it, and fighting for some rays of sound (and flickers of light) that feel righteous, unflinching, hopeful and pure.\u003c\/p\u003e","brand":"Constellation","offers":[{"title":"CD","offer_id":50491368014155,"sku":"356081","price":14.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/ac3cf77e-924a-4ab3-8350-18498ee3f054_thumbnail_4096.jpg?v=1727686013"},{"product_id":"those-who-didn-t-run","title":"Those Who Didn't Run","description":"\u003cp\u003e10\" pressed on heavyweight audiophile vinyl and comes in a screenprinted jacket featuring an illustration by nadia moss. to say colin stetson has come into his own in 2011 would be an understatement. february 2011 saw the release of colin's highly acclaimed solo album new history warfare vol. 2: judges, broadly received as a sonic, conceptual, compositional and technical tour de force. thanks to his trajectory as a session and guest player with a diverse crop of iconoclastic pop\/rock practitioners - tom waits, laurie anderson, tv on the radio, arcade fire - as well as his own tenure in bands like sway machinery and bell orchestre, stetson was poised to bridge the gap between contemporary rock and more rarified currents of avant jazz. colin's astounding physical engagement with his instruments (chiefly bass and alto saxophones) produces emotionally rich and polyphonic compositions that transcend expectations of what solo horn playing can sound like. the two pieces on this new ep both clock in at 10 minutes and are documented in direct fashion, using a handful of mic positions and, as usual, no looping or overdubbing of any sort. they are brilliant single-take performances that showcase stetson's love for minimalism, a subtle pop sensibility, and a mesmerising, mantric, time-warping technical ability.\u003c\/p\u003e","brand":"Constellation","offers":[{"title":"10\"","offer_id":50491436335435,"sku":"343845","price":19.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/1aa14095-b580-401c-b1a2-9d007b097d38_thumbnail_4096.jpg?v=1727686512"},{"product_id":"boy-2","title":"Boy","description":"\u003cp\u003eAcclaimed singer, songwriter, band leader from Ethyl Meatplow and The Geraldine Fibbers. First solo album in seven years, following a string of releases with her Evangelista project. Bozulich's self-proclaimed \"pop record\"! Carla Bozulich, an art-punk heroine with almost three decades of exceptional, iconoclastic musical activity under her belt, returns with the third record of her storied career to be issued in her own name.  Boy is Carla's self-proclaimed \"pop record\" and is a refreshing and much-needed reminder of what pop can mean in the hands of a ferociously commanding singer\/lyricist who has cut her teeth on genre-bending, genre-blending, and DIY production for 25 years.  Boy is unmistakably a pop-influenced album by way of punk, avant rock and lo\/mid-fi; a batch of ten songs that clock in at 3-5 minutes each, mostly hewing to recognizable structures of verse, chorus and bridge, but full of destabilizing accents and strategies.180 Gram LP with Art Print and Download.\u003c\/p\u003e","brand":"Constellation","offers":[{"title":"LP","offer_id":50491541324107,"sku":"372345","price":24.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/248f9f38-6f75-4cda-a885-04bf93ea5fa6_thumbnail_4096.jpg?v=1727687342"},{"product_id":"coin-coin-chapter-two-mississippi-moonchile","title":"Coin Coin Chapter Two: Mississippi Moonchile","description":"\u003cp\u003eCoin Coin Chapter Two: Mississippi Moonchile is the much-anticipated new installment of Matana Roberts' unique and forward-looking project and it finds Roberts conjuring some of the most nuanced, thoughtful and substantial American liberation music of the 21st century. Mississippi Moonchile was developed for an intimately woven New York jazz sextet and represents the next leap forward in Roberts' iconoclastic and complex project of memory and recuperation, where historical and contemporary musical tropes, fragmentary spoken and sung narratives, and Matana's cascading alto saxophone are supported by prodigiously talented players. Chapter Two unfolds as a cohesive album-length piece, playing with notions of dignity, rarefaction and restraint.\u003c\/p\u003e","brand":"Constellation","offers":[{"title":"LP","offer_id":50491570422091,"sku":"367457","price":24.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/b49d815d-2747-4b9a-acd1-429ec5e98cd5_thumbnail_4096.jpg?v=1727687554"},{"product_id":"last-ex","title":"Last Ex","description":"\u003cp\u003eNew instrumental rock project of Simon Trottier and Olivier Fairfield from Timber Timbre long active in Quebec's experimental\/punk scene. Also features Timber Timbre frontman Taylor Kirk; on tour with Timber Timbre in fall 2014.  When Timber Timbre's ambient music for a horror film went unused back in 2012, Trottier and Fairfield began revisiting the sound palette they had built up for the soundtrack at Trottier's studio in Hull, Quebec, expanding on their techniques and textures, adding drums, bass and various other instruments, and. The duo found that they had dug into some very fertile territory, writing additional songs throughout 2013 and bringing their obsessions with sound collage, tape-based music concrète and the BBC Radiophonic Workshop to bear on the cinematic lyricism of the initial widescreen guitar- and string-based material. Derived from the title of the abandoned film, Simon and Olivier dubbed their new project Last Ex. Constellation knew nothing of this back story when the label received the Last Ex demos in spring 2014; we just heard a compelling, compact, coherent, highly evocative instrumental album that kept worming its way into our ears. By the tenth time someone in the office said \"Let's play that Last Ex stuff again\" - and everyone enthusiastically agreed - it was time to contact the band. This music belonged in the Constellation catalogue: an instrumental rock album of superb compositional and melodic sensibility, balancing minimalism and restraint with atmosphere and tone, bound by a refreshingly original approach to production. Last Ex makes ample use of the electric guitar as both lead instrument and textural sound source, structuring most of the pieces around deliberate melodic and contrapuntal deployments of Spaghetti Western twang, while distressing, degrading and redeploying those sonics through Fairfield's analog tape-based manipulations. Trottier takes on most of the guitar duties, with Timbre Timber's Taylor Kirk contributing on a couple of tunes as well. Tight bursts of trap set rhythms played by Fairfield, and usually captured with just a couple of microphones, along with consistently excellent basslines laid down by both Simon and Olivier, propel the album and make this anything but an ambient listen. Strings appear on several pieces, courtesy Mika Posen (also of Timber Timbre), in a wide range of textures and treatments. With its combination of assured lyricism, cinematic guitars, dusky analog atmospherics and taut percussion, this is a vivid, concise and expressive instrumental album that sits snugly between fellow label acts Do Make Say Think and Exhaust on the one hand, Hrsta, Tindersticks and Evangelista on the other. 180g LP audiophile pressing includes art print poster + download.\u003c\/p\u003e","brand":"Constellation","offers":[{"title":"CD","offer_id":50492551299403,"sku":"380673","price":14.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/e29d74f1-71b7-4a1f-9b5e-fe35fb20fa7f_thumbnail_4096.jpg?v=1727692533"},{"product_id":"coin-coin-chapter-three-river-run-thee","title":"Coin Coin Chapter Three - River Run Thee","description":"\u003cp\u003eMatana Roberts is one of the most acclaimed, socio-politically conscious and aesthetically intrepid avant-jazz practitioners of the 21st century. Her multi-chapter Coin Coin work, which Constellation began documenting in 2011, has placed her at the forefront of stylistic innovation and radicalization, while confirming the deep substance and soul that guides her compositional agenda. Following the critical accolades that the first two Coin Coin chapters have thus far received, the past year has been marked by further career-defining recognition for her body of iconoclastic work: Roberts was a recipient of both the Herb Alpert Award in the Arts and the Daisy Duke Impact Award in 2014.LP - 180 Gram LP with Art Print Poster and Download.\u003c\/p\u003e","brand":"Constellation","offers":[{"title":"LP","offer_id":50492936945995,"sku":"384358","price":24.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/fd0e541e-5055-4ad6-8df9-c5a3338c1c8e_thumbnail_4096.jpg?v=1727694437"},{"product_id":"nervous","title":"Nervous","description":"\u003cp\u003eSiskiyou returns with Nervous, a majestic album of carefully constructed art rock built around songwriter and lead singer Colin Huebert's stacked acoustic guitars and intimate, whispery vocals. Siskiyou's sound has been previously dubbed a sort of 'Northern Gothic', conjuring cold winds and the life-saving warmth of temporary shelters and tiny hearth fires. With Nervous, the band continues to push beyond the crisp lo-fi intimacy of its early work, and has forged its most confident and finely-crafted recording to date, moving fully into auteur and chamber-pop territory with a song cycle that brings to mind the meticulousness of mood and sonics found in recent work by PJ Harvey, Nick Cave and Tindersticks. Inflected by an anxious, sussurant restraint, Huebert's voice is supported by the falsetto backing vocal counterpoint and economical instrumentation of bandmates Erik Arnesen, Peter Carruthers and Shaunn Watt. Fans of the understated and underrated 1990s group Swell may also hear a welcome evocation of that group's acoustic guitar-driven simplicity and austere deployment of adornments. Following Siskiyou's excellent sophomore release Keep Away The Dead in 2011, Huebert became afflicted with a serious inner ear condition that eluded conventional diagnosis. While honouring a previously scheduled songwriting residency in Dawson City, Yukon in winter 2012, Huebert found himself grappling with severe anxiety and an unwelcome interiority, engendered by hyperacusis and a house that felt utterly haunted. Intense chronic ear-ringing and panic attacks continued throughout the year, for which conventional medicine was unable to find any cause or effective treatment; Huebert began focusing on meditation, retreated to silence for a period, and then began rehearsing his new songs with the band at extremely low volumes. The songs on Nervous are shot through with the entirety of this experience: the literal feeling of being trapped in one's head and the physical-psychological feedback loop of debilitating anxiety; the lyrical themes and tense, whispered singing amidst tightly-wrought compositions and arrangements. Huebert found solace in new working methods within the controlled environment of studio-based production and composition, developing new sonic palettes and pursuing new avenues of instrumental arrangement and recording fidelity. Working with producer\/engineer Leon Taheny (Owen Pallett\/Final Fantasy, Dusted, Austra) on most of Nervous, Siskiyou has emerged with by far its most assured, ambitious and authoritative recordings, while preserving the economy of elements, deft structures, and assiduous melodic deliberation for which the band has been rightly celebrated over its two previous albums. In charting escape paths from his disquieting cranial confinement, Huebert has very much succeeded in setting his songs out on an expansive canvas, while preserving a palpable sense of nervous interiority and quiet desperation at their heart. Nervous includes contributions from guest musicians Colin Stetson, Owen Pallett, JP Carter, Ryan Driver and the St. James Music Academy Senior Choir, among others. The album features original artwork by Michael Drebert. 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Skullsplitter is the impressive new album that confirms Chenaux's singular aesthetic: genuine, natural, unaffected vocals gliding through slow, smoky melodies while electric and nylon-string guitars are deployed with adventurously experimental, dextrous, semi-improvisational technique and texture. Skullsplitter stands as a welcome evolution from Chenaux's previous song-based album Guitar \u0026amp; Voice (2012), which was widely celebrated as his best work to date, championed by The Wire, Said The Gramophone, Stereophile and others for its unique sensibility and sensitivity. Skullsplitter builds on these strengths, with Chenaux working his concise array of signal-bending devices (volume, wah and freeze pedals) with a remarkable and idiosyncratic fluidity that's integral to the expressivity he brings to the guitar, and his voice at the calm center of this stormy micro-climate of bodily kinetics and woozy playing. On Skullsplitter, Chenaux's vocals are like a high pressure system, riding on clear bright air, stabilizing the roiling, changeable atmosphere of the guitars underneath; a gem of an album in an increasingly luminous discography.​180g LP includes art print poster and download coupon.\u003c\/p\u003e","brand":"Constellation","offers":[{"title":"CD","offer_id":50493451108683,"sku":"384945","price":14.99,"currency_code":"GBP","in_stock":true},{"title":"LP","offer_id":50493455302987,"sku":"384944","price":24.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/2593f2c9-fe74-46bf-b4b9-e6ce15a5ea51_thumbnail_4096.jpg?v=1727697935"},{"product_id":"lost-voices","title":"Lost Voices","description":"\u003cp\u003eMontreal chamber rock ensemble Esmerine return with the new full-length album 'Lost Voices', the most dynamic and incendiary record of the group's career, following its highly-acclaimed and Juno award-winning 2013 release Dalmak. Led by co-founders Bruce Cawdron (Godspeed You! Black Emperor) on various mallet instruments and Rebecca Foon (Thee Silver Mt. Zion, Saltland) on cello, Esmerine also includes drummer\/percussionist Jamie Thompson (The Unicorns, Islands, Little Scream) and multi-instrumentalist Brian Sanderson. The album features several tracks that are hands down among the band's most rocking, making newfound use of electric guitars (courtesy a variety of guest players) alongside the group's nucleus of marimba, strings and percussion. Esmerine also welcomes bassist Jeremi Roy (who began touring with the group in 2013) as an official member; his contrabass work adds potent low-end to the heavier jams on the new album. Lost Voices is equally notable for the appearance of Godspeed\/Mt. Zion violinist Sophie Trudeau as a featured guest; her intense, incomparable string sounds\/styles elevate the potency of the record's most soaring and high-octane pieces, particularly on opener \"The Neighbourhoods Rise\", \"19\/14\" and \"Hakanting\". Lost Voices can fairly be called Esmerine's \"rock\" album, expanding upon the band's celebrated prowess at deploying structure and dynamic, balancing melodic expression against methodical restraint through a diversity of stylistic touchstones while allowing for explosive crescendos of exuberant density and maximalism that most notably distinguishes this record from previous work. Lost Voices is a deeply satisfying and evocative journey and another brilliant iteration of Esmerine's distinctive instrumental chamber rock; cerebral and visceral, controlled and volatile, and wholly cinematic in scope throughout.  LP - Vinyl is 180 Gram audiophile pressing includes art print poster and download coupon.\u003c\/p\u003e","brand":"Constellation","offers":[{"title":"CD","offer_id":50493502259531,"sku":"393775","price":14.99,"currency_code":"GBP","in_stock":true},{"title":"LP","offer_id":50493503504715,"sku":"393774","price":24.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/07b0d124-80c4-46a2-bbba-8708019f154b_thumbnail_4096.jpg?v=1727698455"},{"product_id":"if-he-dies-if-if-if-if-if-if","title":"If He Dies, If If If If If If","description":"\u003cp\u003eRadwan Ghazi Moumneh returns with a second full-length album from his acclaimed Jerusalem In My Heart (JIMH) project, conceived and recorded in his dual homes Montreal and Beirut. Known for his production and engineering work with artists as diverse as Matana Roberts (all 3 chapters of her Coin Coin recordings to date), Aids Wolf, Ought, Eric Chenaux and Suuns. Moumneh has been firing on all cylinders over the past few years. He has brought JIMH to mesmerized live audiences in Canada, Europe and the Middle East since the release of his first album in 2013, following many years during which the project was a strictly Montréal-based live\/theatrical happening. While JIMH continues to expand to includealarger cast of players for select engagements and commissions, the group is currently animmersive and performative audio-visual duo at its core, with Moumneh responsible for all sound \/ composition and filmmaker Charles-André Coderre creating 16mm visuals and live projections\/installations. Moumneh expands his compositional palette on 'If He Dies, If If If If If If', exploring new deconstructions and juxtapositions of both traitional and popular Arab musical currents, with an album that oscillates between powerfully emotive vocal tunes and instrumental works that primarily make use of Radwan's expressive acoustic playing on buzuk and zurna as a point of departure.CD - 100% recycled Gatefold paperboard jacket.LP - 180 Gram LP includes art print poster and Download.\u003c\/p\u003e","brand":"Constellation","offers":[{"title":"LP","offer_id":50493733962059,"sku":"393161","price":24.99,"currency_code":"GBP","in_stock":false},{"title":"CD","offer_id":50493736911179,"sku":"393162","price":14.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/79902879-1180-4fe7-a9f7-e9f2d782ac2c_thumbnail_4096.jpg?v=1727700116"},{"product_id":"momentform-accumulations","title":"Momentform Accumulations","description":"\u003cp\u003eDebut album of rhythmic electronic\/glitch\/drone music from this Québec-based producer following several self released recordings and a live premiere at Mutek 2015. RIYL: Pan Sonic, Alva Noto\/Carsten Nicolai, Pole. CD in 100% recycled gatefold paperboard jacket. 180g LP audiophile pressing includes pull-out art print poster + 320kbps mp3 DL. Automatisme is the electronic music project of Saint-Hyacinthe, Quebec-based producer William Jourdain, who has been self-releasing a brilliant series of albums and tracks under this moniker since 2013, exploring various intersections of drone, dub techno, electronica, ambient, electro-acoustic, and noise. Always taking site-specific field recordings as its starting point, and with nominal reliance on synthesizers, Automatisme samples, signal bends, and transforms his source material into deliberate and elemental soundscapes of white and pink noise, spatial drone and methodically additive beats. Momentform Accumulations compiles much of Jourdain's most recent and most rhythmically-driven work. We're very excited to be issuing this as Automatisme's first official full-length physical album release - and while Jourdain continues to pursue his studies in Art History, his practice as a painter and installation artist, and his work at Saint-Hyacinthe's excellent Fréquences record store, we also anticipate diverse and fascinating future recordings from Automatisme that will stake out a multi-faceted identity for this viscerally engaged young producer. (We also urge interested ears to check out Automatisme on Bandcamp for previous recordings that similarly reveal the project's multiplicity.)\u003c\/p\u003e","brand":"Constellation","offers":[{"title":"CD","offer_id":50494430052683,"sku":"405953","price":14.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/12ddb1c2-b228-4a22-8636-20061932ee48_thumbnail_4096.jpg?v=1730805153"},{"product_id":"1-8","title":"1","description":"\u003cp\u003eCelebrated Toronto-based composer, producer and songwriter Sandro Perri is one of Constellation's most long-standing and artistically diverse music-makers, known both for the pulsing, longform instrumental work released in the early 2000s as Polmo Polpo and the tropicalia-, jazz- and prog-influenced vocal music brilliantly showcased on 2011's Impossible Spaces. Over the past couple of years Perri has been letting us in on a fascinating treasure chest of strange and enchanting collaborative recordings, which, now rounded up under the project name Off World, will begin to see release over the next few seasons. Chiefly a studio-based endeavour, the project traces its origins as far back as 2008 when Perri and fellow Torontonian Lorenz Peter began working together, now expanded to encompass collaborations with many other producers and musicians, including Drew Brown (Lower Dens, Blonde Redhead), Susumu Mukai (Zongamin), M J Silver (Mickey Moonlight), Craig Dunsmuir, Jesse Zubot and Eric Chenaux. 1 is alien electronics played humanly, with real-world accents throughout, rich in deconstructed melody, interplay between acoustic and electronic instrumentation, and pointillist and aleatory composition techniques. Off World resists easy categorization: not ambient \"easy listening\", not strictly \"improvised\", not \"retro\" - but eccentrically absorbing and soothingly mischievous as it charts its own sonic trails. \u003cbr\u003eCD in 100% recycled gatefold paperboard jacket. \u003cbr\u003eLP - 180 Gram LP audiophile pressing includes pull-out art print poster and 320kbps mp3 DL.\u003c\/p\u003e","brand":"Constellation","offers":[{"title":"CD","offer_id":50494431658315,"sku":"405949","price":14.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/fb7e1c0e-a9b8-40b0-a759-529d554aed73_thumbnail_4096.jpg?v=1727705468"},{"product_id":"a-boat-upon-its-blood","title":"A Boat Upon Its Blood","description":"\u003cp\u003eDebut album from this Montréal-based improviser, composer and reedist; alumnus of Matana Roberts Coin Coin ensemble and Land Of Kush Orchestra. A tour-de-force, genre-defying work of immersive, accessible and deeply satisfying modern composition, inspired by Robert Creeley's poem \"The Heart\". CD in 100% recycled gatefold paperboard jacket. 180g LP audiophile pressing includes pull-out art print poster + 320kbps mp3 DL. Jason Sharp has been a fixture of Montréal's experimental\/improv scene for many years, chiefly as a saxophonist exploring drone and durational music, while also collaborating in a wide variety of jazz, avant and contemporary music ensembles. His work as a composer, conductor and band leader in his own right is now featured on A Boat Upon Its Blood, the first album-length recording to be released under his own name: a bracingly meditative multi-movement instrumental work that charts a highly compelling arc of shifting energies and intensities. Using custom-built equipment to translate breath and heart rate into variegated sonic triggers, along with other modes of signal processing and in tandem with traditional instrumentation, the album features Sharp's own reed playing with contributions from a few guest musicians on pedal steel guitar, violin and various percussion. Recorded by Thierry Amar (Godspeed You! Black Emperor, Vic Chesnutt) at the Hotel2Tango in Montréal and mixed and mastered by Jesse Zubot (Tanya Tagaq, Drip Audio Records), A Boat Upon Its Blood is a genre-defying album with a highly immersive and satisfying sound palette that impels deep listening and demands to be taken in as a whole. Constellation is thrilled to present Jason Sharp as a unique and invigorating new voice in modern-contemporary music.\u003c\/p\u003e","brand":"Constellation","offers":[{"title":"CD","offer_id":50494604706123,"sku":"405955","price":14.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/31b9db2c-0825-4893-ad75-815f8975d9d5_thumbnail_4096.jpg?v=1727706939"},{"product_id":"pas-pire-pop-i-love-you-so-much","title":"Pas pire pop, I Love You So Much","description":"\u003cp\u003ePsychedelic rock, krautrock, desert rock, punk rock, noise rock, afrobeat, experimental pop, post-rock, electronic; all are touchstones for Avec le soleil sortant de sa bouche. Their multi-movement durational music arguably combines trance rock and audio collage above all - a diced and spliced approach to longform multi-movement groove music played by a stripped down quartet of two guitars, bass and drums, synched to pre-recorded electronics and musique concrète. The band's unique restlessness and inventiveness seduces with shifts, turns and dovetails, consistently destabilizing its own inexorable musical logic in highly satisfying fashion. Avec le soleil sortant de sa bouche deploys a panoply of buoyant musical ideas, subtly sumptuous sonic treatments, and joyous stylistic nods - while remaining fundamentally devoted to working the groove from a kaleidoscope of angles. Their sound always seems to be escaping overt homage or retro tendencies; neither freighted with reverence nor weightless with irreverence, the music of Avec le soleil routes and uproots itself along its own refreshingly untrodden path. \u003ci\u003ePas pire pop, I Love You So\u003c\/i\u003e Much is post-modern psychedelic trance-pop that sounds like no other. Quite literally: the needle drops on \u003ci\u003eTrans-pop express\u003c\/i\u003e with Avec le soleil in full swing, playing a musical theme that had been submerged at the end of Zubberdust’s closing track, now developed in the full kaleidoscopic light of day. Unfurling over 10 minutes of sinuous bass, chiming guitars and wordless vocals, \u003ci\u003eAlizé et Margaret D…\u003c\/i\u003e opens with naive melody lines played on dry staccato guitars, peppered with ragged vocal calls, before transitioning through some unison riffing into one of the band’s signatures: clean, methodical, exuberantly layered grooves perhaps most reminiscent of Remain In Light era Talking Heads. Nothing the band has recorded to date quite drives home the fascinating sonic identity they’ve forged from their overflowing toolbox of techniques and influences more than \u003ci\u003eTourner incessamment dans l’éclatement euphorique\u003c\/i\u003e…, the 20-minute tour de force that comprises Side Two of \u003ci\u003ePas pire pop\u003c\/i\u003e.This is post-modern psychedelic trance-pop the likes of which we can honestly say we’ve not heard before. \u003cbr\u003e\u003c\/p\u003e","brand":"Constellation","offers":[{"title":"LP","offer_id":50495286935883,"sku":"1003584","price":24.99,"currency_code":"GBP","in_stock":true},{"title":"CD","offer_id":50495287329099,"sku":"1003585","price":14.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/ab803b0a-3bf8-459b-9115-03e40f8ceaf2_thumbnail_4096.jpg?v=1727709797"},{"product_id":"a-common-truth","title":"A Common Truth","description":"\u003cp\u003eThe second solo album by Rebecca Foon, composer and cellist from Esmerine, Thee Silver Mt Zion and Set Fire To Flames. Features special guest Warren Ellis (Nick Cave, The Dirty Three) on the album’s four instrumental tracks. With \u003ci\u003eA Common Truth\u003c\/i\u003e, Foon presents a new song cycle that takes climate change as its theme (Foon is co-founder of Pathway to Paris, among other organizing and activist roles in the decarbonization movement) and features her cello as the primary source for all sounds on the record. The one notable exception: Warren Ellis (Nick Cave, The Dirty Three) is the sole invited guest player, contributing his inimitable violin (and pump organ) to the album's four instrumental tracks. \u003ci\u003eA Common Truth \u003c\/i\u003eis an album of gorgeous integrity, restraint, and meditative intensity that alternates between wordless instrumentals and lyric-driven pieces, balancing austere, organic intimacy and lush, multi-layered expansiveness. 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Following \u003ci\u003eOther Truths\u003c\/i\u003e (2009), the five members of Do Make Say Think pursued other creative projects, while all continuing to stay firmly rooted in Toronto. An invite from Heartland Festival and Constellation to play the label’s 15th Anniversary shows in Europe in fall 2012 brought Do Make Say Think back to the stage in very fine form – the band worked up a bevy of gems from their catalogue and absolutely killed live. A rekindling was sparked, leading to new writing and recording sessions throughout 2014-2016. Overdubbing, ‘underdubbing’, gestating and mixing was helmed by band members Ohad Benchetrit, Charles Spearin and Justin Small at Ohad’s studio th’Schvitz: \u003ci\u003eStubborn Persistent Illusions\u003c\/i\u003e is a reminder and continuation of the group’s DIY ethos, and the integral role played by their singular selfproduction acumen and aesthetic. Do Make Say Think has a well-earned reputation for imbuing their instrumental music with soulful and emotive narrative power that doesn’t rely on obvious tropes or bombastic dynamics. Among the band’s special strengths is an ineffable naturalism that avoids anything too woolly, proggy, purist or clichéd, while remaining a fundamentally guitar-driven group whose ornate four- and six-string interplay balances rockism, pastoralism and electronic-influenced post-production in a class of its own. \u003ci\u003eStubborn Persistent Illusions\u003c\/i\u003e is built from this distinctive toolkit, at once familiar and as fresh as anything Do Make Say Think has committed to tape. 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