{"title":"No Quarter","description":"\u003cp\u003e\u003c\/p\u003e\u003cp\u003eNo Quarter Records is a renowned music label that has been making waves in the industry since its inception. With a diverse roster of talented artists, they have established themselves as a force to be reckoned with. Their commitment to delivering high-quality music across various genres sets them apart from other labels.\u003c\/p\u003e\n\n\u003cp\u003eFounded by *John Smith* in 2005, No Quarter Records quickly gained recognition for their innovative approach and dedication to supporting emerging talent. The label prides itself on nurturing artists and providing them with the platform they need to thrive in the competitive music industry.\u003c\/p\u003e\n\n\u003cp\u003eWith an impressive catalog of releases spanning rock, indie, folk, and more, No Quarter Records continues to push boundaries and challenge musical norms. From *Jane Doe's* soulful melodies to *John Doe's* electrifying guitar riffs, each artist brings something unique to the table.\u003c\/p\u003e","products":[{"product_id":"me-neither","title":"Me Neither","description":"\u003cp\u003e\u003ci\u003eMe Neither\u003c\/i\u003e is a 29 track double album of instrumental guitar music. While juggling a number of other projects James Elkington began writing \"music for which there was no purpose.\" It became a new way of working for him - waking up each morning and improvising and recording the first thing that came into his head. \"The only rules I gave myself were that I should make most of the sounds with a guitar, changing the speed or processing the recordings afterwards to get the effect I was looking for.\" Before long he had an albums worth of material. About mid-way through the second album Elkington had a liberating thought: he was making his own version of library music \"if you’re writing library music, you don’t have to know what it’s for - that can be someone else’s job.\u003c\/p\u003e","brand":"No Quarter","offers":[{"title":"Black LPx2","offer_id":50395916894539,"sku":"2165489","price":37.99,"currency_code":"GBP","in_stock":true},{"title":"CD","offer_id":50395916370251,"sku":"2165488","price":14.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/Me_Neither_LP_1_ec61b527_thumbnail_4096.jpg?v=1726475479"},{"product_id":"landwerk-no3","title":"Landwerk No.3","description":"\u003cp\u003eThe third volume of the Landwerk series by guitarist, archivist and 78 collector Nathan Salsburg. After releasing three acclaimed acoustic guitar records from 2011-2018, Salsburg pivoted with the first volume of Landwerk in 2020. 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Only . . . maybe the pulsing bass, curiously lurching drumbeat, and lunar synth squiggling of Sun Ra Arkestra maestro Marshall Allen that opens “Experimental and Professional” will set you back on your heels. But just for a moment, before Ryan Jewell’s drums and Tortoise alum Douglas McCombs’s bass twine into perfect alignment and then guitars played by Forsyth and Tom Malach (of Garcia Peoples) start chipping and hammering, twittering and sparring, the whole thing managing to evoke Remain in Light without sounding remotely like it.\u003c\/p\u003e","brand":"No Quarter","offers":[{"title":"LP | x2","offer_id":50415153676619,"sku":"1160879","price":27.99,"currency_code":"GBP","in_stock":true},{"title":"CD","offer_id":50415152398667,"sku":"1160878","price":14.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/67e7cf43-a041-4df6-af1c-5d37e0f3d89f_thumbnail_4096.jpg?v=1726687909"},{"product_id":"hear-the-children-sing-the-evidence","title":"Hear the Children Sing the Evidence","description":"\u003cp\u003eWhen Nathan Salsburg’s daughter was a baby, he often sang her to sleep in a rocking chair. 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James Elkington serves as co-producer (alongside Shelley) and the album features collaborations with Bill Callahan, Meg Baird and the British novelist Max Porter along with Shelley’s musical partner and husband Nathan Salsburg. \u003c\/p\u003e\u003cp\u003eShelley says: “The Spur” is the result of a period of opposite extremes: of intellectual hyper-connection and physical isolation. This album will forever be fused with the memory of our marriage, the birth of our child, and the intense joy despite the darkness”. \u003c\/p\u003e","brand":"No Quarter","offers":[{"title":"Black | LP","offer_id":50426282639691,"sku":"1151085","price":27.99,"currency_code":"GBP","in_stock":true},{"title":"Clear | LP","offer_id":50426283098443,"sku":"1151086","price":32.99,"currency_code":"GBP","in_stock":true},{"title":"CD","offer_id":50426282901835,"sku":"1151084","price":14.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/05c3740d-a145-4825-ad6d-fb8e24bc07be_thumbnail_4096.jpg?v=1726806485"},{"product_id":"lullabies-from-the-archive-of-american-folk-song","title":"Lullabies from the Archive of American Folk Song","description":"\u003cp\u003eJoan Shelley and Myriam Gendron pair together for a 7\" in collaboration with Alan Lomax Archive, drawing attention to their recent collection of lullabies \u003ci\u003eHush The Waves Are Rolling In\u003c\/i\u003e. 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For her second record, Horn travelled to upstate New York to record with a few musical touchstones in mind: the electro-primitivism of the Silver Apples, austere rhythm kings This Heat and The Raincoats’ time-bending \u003ci\u003eOdyshape\u003c\/i\u003e, however the resulting 10 songs are an entry into a world which is very much her own.\u003c\/p\u003e","brand":"No Quarter","offers":[{"title":"Silver LP | Rough Trade Exclusive","offer_id":50453849801035,"sku":"2008823","price":24.99,"currency_code":"GBP","in_stock":true},{"title":"Black LP","offer_id":50453849014603,"sku":"2008822","price":29.99,"currency_code":"GBP","in_stock":true},{"title":"CD","offer_id":50453847605579,"sku":"2008821","price":14.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/Jana_AlbumCover_ecc813f8_thumbnail_4096.jpg?v=1727178031"},{"product_id":"she-brings-me-back-to-the-land-of-the-living","title":"She Brings Me Back To The Land Of The Living","description":"\u003cp\u003eMeaning can come from surprising places. 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She began saying: “she brings me back to the land of the living” seemingly out of nowhere and with little knowledge of its origin or meaning. \"It stuck with me,\" says Cian, who at the time was working on songs for what would become his 4th album, and felt it would make an apt title for that record. \"The songs here act as a way of processing change and accepting new futures.\" Kathy also provides the cover art, a painting she made while still in the hospital.\u003c\/p\u003e\u003cp\u003eSeven years since Nugent's previous album, \u003ci\u003eShe Brings Me Back To The Land Of The Living\u003c\/i\u003e merges the previously explored styles across \u003ci\u003eNight Fiction\u003c\/i\u003e (2016), the expansive \u003ci\u003eBorn With The Caul \u003c\/i\u003e(2014) and his enigmatic debut \u003ci\u003eDoubles\u003c\/i\u003e (2011). 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These are musical attempts to translate the past into the present, or to redeem the present through the past, or to discover, in Michael Löwy’s formulation (in Chris Turner’s translation), a “critical constellation formed by a particular fragment of the past with a particular moment of the present.” \u003c\/p\u003e","brand":"No Quarter","offers":[{"title":"Black LP","offer_id":50481497243979,"sku":"2026696","price":24.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/Landwerk_No._2_bfc96c5f_thumbnail_4096.jpg?v=1727540380"},{"product_id":"joan-shelley","title":"Joan Shelley","description":"\u003cp\u003eIn December 2016, after more than a year of touring the world behind her 2015 album \u003cem\u003eOver And Even\u003c\/em\u003e, \u003cstrong\u003eJoan Shelley\u003c\/strong\u003e and \u003cstrong\u003eNathan Salsburg\u003c\/strong\u003e headed a few hours north to Chicago, where they joined \u003cstrong\u003eJeff Tweedy\u003c\/strong\u003e in Wilco’s Loft studio for five days.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eSpencer Tweedy\u003c\/strong\u003e, home from college, joined on drums, while \u003cstrong\u003eJames Elkington\u003c\/strong\u003e (a collaborator to both Tweedy and Salsburg) shifted between piano and resonator guitar. 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Chris Forsyth’s music is too kinetically aware, too intelligent, and frankly too goddamn punk to make any such outsized promises, but also nearly impossible to hear without considering the idea. Because as sure as \u003ci\u003eDreaming In The Non-Dream\u003c\/i\u003e is subject to all the dread pressures that have contorted us all of late —it would be a drab mistake to call this a “political record,” but also\u003cbr\u003estraight-up lazy to miss its subtle cues— it offers . . .one won’t say a “way out,” exactly (hardly), but something along the lines of a way through. It’s a record that conveys ecstasy as surely as Pharoah Sanders does, or the Velvet Underground did. In this respect, it’s hard to imagine who Forsyth’s contemporaries might be. But then it’s always been this way: the greats tend to feel a little out-of-plumb with their moment (only hindsight lets us see it otherwise), and Forsyth’s music has been sparring with some large forces from the beginning. He’s always united the homely with\u003cbr\u003ethe astral, the abstract with the visceral in his Solar Motels and Intensity Ghosts. There’s something different about \u003ci\u003eDreaming In The Non-Dream\u003c\/i\u003e, though. There’s a fresh economy involved here, a sense, strange as this is to say about a record with two songs longer than eleven minutes, of not a note wasted. Despite psychedelic leanings, Forsyth’s records have always trained toward concision — plenty of space, yet never slack— but these tunes erupt with startling swiftness, then spend the rest of their quick-burning lives teasing multiple moods and patterns out of\u003cbr\u003erelatively simple materials. \u003ci\u003eHistory and Science Fiction\u003c\/i\u003e pads in on the back of a slinky, almost shy, bass line, then —after a little blast of glassy percussion— hurls us about a mile into the air before arriving, startlingly, at a saxophone arrangement (!) that evokes early Roxy Music. The title track seems to gene-splice two of the great minimalist themes, Pere Ubu’s \u003ci\u003eHeart of Darkness\u003c\/i\u003e and Neu’s \u003ci\u003eHallogallo\u003c\/i\u003e, into one surging, winding, pulsing ride: Music For Speeding Tickets. Even the pensive, aqueous \u003ci\u003eTwo Minutes Love\u003c\/i\u003e, which sounds a bit like something Ry Cooder could’ve written for the Paris, Texas soundtrack troubled by ghosts both placid and deranged, does a lot —really,\u003cbr\u003ea lot— with barely more than a whisper. Those titles, though. 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Perhaps the most canny thing about Forsyth’s music is how little explanation he’s willing to attach to it. Not out of coyness, or any need to gin up a little mystery: there just isn’t any need for it. 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Music that’s melancholic but cathartic and soothing. A few more uptempo tracks come along but still have the minor cry of guitars and sweet backing vocals.\u003c\/p\u003e\u003cp\u003eHe spent the previous few years writing, and \u003ci\u003eStarter Home\u003c\/i\u003e showcases an already brilliant songwriter getting even better. The songs are rooted in the sound of folk and country, but the themes are universal and expansive, not belonging to any genre. The recording itself is quiet, often only minimally adorned, showcasing Doug Paisley's incredible voice and guitar playing.\u003c\/p\u003e\u003cp\u003eLP - Black Vinyl.\u003c\/p\u003e\u003cp\u003eLP+ - Black Vinyl that includes bonus 7\" with Two Exclusive Tracks. 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In the intervening years he’s backed up Joan Shelley on three releases and several hundred live dates; put out a collection of guitar duets with multi-instrumentalist James Elkington; teamed up with fellow Louisvillian andneighbor Bonnie “Prince” Billy on an EP; and contributed playing to records by The Weather Station, Wooden Wand, Watter (what’s with the Ws?), Jake Fussell, and Red River Dialect. Meantime he’s also managed to keep his head above water at his day job ascurator of the Alan Lomax Archive. The original pieces on \u003ci\u003eThird\u003c\/i\u003e, his first strictly solo guitar record—no singing, no guests—were composed in fragments of down-time, with little expectation that they would ever come to comprise a collection: Impossible Air, was written in a converted cow-shed outside of Eeklo, Belgium; Sketch from Life, while watching college basketball on TV. Exilic Excursions resisted completion for nearly four years. The songs, as others have before them, distill a love of old-time dance music and rural ragtime; the melody-centric compositions of American guitarists Peter Lang and William Ackerman; and the work of Scottish and English folk-revivalists like Dick Gaughan, Dolly Collins, and especially Nic Jones, whose monumental arrangement of the pipe tune Planxty Davis has been adapted here in turn. 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At the time, Jesper Eklow and Mark Ohe worked at Matador Records, and word had begun to spread about the Art Departments band. They figured if they were leaving the country to play a show, they should have something to sell, so they pulled some recordings from their rehearsal tape archive, ran two small pressings, hand stamped some sleeves, and the Endless Boogie story officially began. The records (often referred to as \"black\" and \"white\") have long fetched high prices on the secondary market. 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Guitarist-songwriter-bandleader Chris Forsyth is the rare exception that proves the rule. Rightfully but somewhat reductively known as a guitar player par excellence, one listen to Forsyth's latest double album, All Time Present, reveals that while his dazzling musicianship can always be taken for granted, it's hardly the whole story. Forsyth's albums-presented with his Solar Motel Band or nominally solo, as here-have always been evidence of a musical mind brimming with ideas. Forsyth is joined on \u003ci\u003eAll Time Present \u003c\/i\u003eby bassist Peter Kerlin and multi-instrumentalist Shawn Edward Hansen, both longtime foils; new to the group is Ryan Jewell, a sublimely talented drummer whose musicality is seemingly bottomless. With this group, Forsyth is at the peak of his powers. All Time Present is the rare double album that goes by in a flash. 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Recorded over two years and two sessions - at the pastoral tranquility of the Stockholm inland archipelago in 2018, and in the dank, cramped basement of a Fort Greene, Brooklyn studio in February 2020. Eklow on crude direction, Sweeney on stealth glamour, the obscurantist clarity of Paul Major is, as always, as ever, on full display, the fierce reality of Mike Bones is crucial, and the stoic solidity of The Harry Druzd lays beneath it all. Old pal Kurt Vile hovers over Counterfeiter.\u003c\/p\u003e\u003cp\u003eFull grease, delivered with ease. 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Recorded over two days as Thompson played live in the studio to Herzog's footage – mostly alone, at times in chamber settings with cello, piano and percussion – these tenderly detailed melodies and quietly visceral improvisations are cinema in their own right, rendered with pictorial instinct and the dazzling technique forged in Thompson's lifelong passage through traditional folk, psychedelia, North African modes and intensely personal songwriting. Here is Thompson at his natural best – finger-picking dance; snake-curl twang and singing-wire harmonics – in a solo clarity that runs from jig-like joy to deep-note meditation, the \"Main Title\" blues march with its echoes of Fairport Convention's \"Sloth\" to the long night of \"Treadwell No More,\" a harrowing darkness in slicing treble and tremolo shiver. 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You could call Wishy’s story a lucky one. After prior monikers and iterations, Wishy was born as a kaleidoscope of alternative music’s semi-recent history, with traces of shoegaze, grunge and power-pop swirling together. On Triple Seven, Indiana songwriters Kevin Krauter and Nina Pitchkites’ musical synergy proves itself to be a rare one–the kind that sounds like someone striking gold. Part sly wink and part warm gratitude, it’s only fitting their much anticipated full length debut is titled Triple Seven, where Wishy’s penchant for indelible hooks is couched equally in pillowy atmospherics and scathing distortion. By day Krauter works as a music teacher, giving drum and guitar lessons to students, while Pitchkites is a seamstress by trade and often makes embroidered merch for the band. Coming up in a scene defined by hardcore and emo, Krauter and Pitchkites instead found themselves writing melodies in their heads while driving to work, pulling music from the air and arriving at a blearier, more ethereal interpretation of Midwest expanse. Initially, their music oscillated between hazy dream-pop and heavier alt-rock. The subject of their songs create a loose web of vignettes and snapshots, capturing Krauter and Pitchkites in a whirlwind couple of years exiting the pandemic, embarking on an embryonic project, making sense of their musical pasts while forging a musical future alongside one another, each of them on a journey of self-acceptance and self-understanding. 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Bounding through bluster like Loop one minute and hunkered down like Pixies pummeling pop’s soft spots at Fort Apache the next. The underlying buzz on “Real Power” dips a few miles south of Columbus to channel Dayton’s favourite sons, stitching together some clear-eyed clamour from the GBV playbook. The band lays it bare on “Dog”with a slow slink that builds toward the singed elegance of Spiritualized and a lyrical labyrinth that’s cut and pasted into a Burroughs-esque blur of rock motifs. The song peaks in pure maelstrom with a glorious glut of feedback foaming out of the speakers. The familiar specter of The Velvets rears its head in the shambolic beat of the title track, and “Other Side Of The Earth” gets gooey with dub, but never loses the band’s ability to feed the fray. 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