{"title":"Thrill Jockey","description":"\u003cp\u003eThe American independent label, is known for its \u003cmeta charset=\"utf-8\"\u003ecommitment to artistic integrity, and championing artist's rights. With over two decades of experience, Thrill Jockey has become a prominent force in the music industry, and their catalog includes a wide range of critically acclaimed albums from both established and emerging artists. From experimental rock to electronic music, jazz to folk, the label continues to push boundaries and support unique voices within the industry.\u003c\/p\u003e","products":[{"product_id":"in-plain-speech","title":"In Plain Speech","description":"\u003cp\u003eHaley Fohr's music strikes a unique balance between the personal and universal. As Circuit des Yeux she creates music that embodies the complexity of human emotions, juxtaposing tenderness and grief, ecstasy and horror, using sounds as representations of the emotional spectrum that we all experience. Fohr's striking voice, an impassioned baritone, is the music's centrepiece and guiding force. On 'In Plain Speech' Fohr is joined by some of the most progressive musicians in the Chicago music community; Cooper Crain (Cave, Bitchin Bajas), Whitney Johnson (Verma), Rob Frye (Bitchin Bajas), Adam Luksetich (Little Scream), and Kathleen Baird (Spires That In The Sunset Rise). Fohr cements her reputation as a fearless songwriter and inventive arranger with this stirring collection of songs that are both gorgeous and emotionally potent. LP - Pressed on virgin vinyl and packaged in an old style tip-on jacket with artworked inner sleeve and free download coupon. 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Not since McCombs’ solo outlet Brokeback blossomed into a full-fledged rock unit has his singular approach to solo guitar playing been exhibited in such striking detail. Taking after Brokeback’s classic ‘Morse Code in the Modern Age: Across the Americas’, ‘Two To Coolness’ is a piece that McCombs refined through a series of improvised performances and features Calexico drummer John Convertino, as well as singer \/ guitarist \/ synth player Sam Prekop (also of The Sea and Cake). ‘Green Crown’s Step’ was largely improvised working through melodies and patterns. The stately ‘To Whose Falls Shallows’ reshapes three key themes that Tortoise and Brokeback fans will find to be signature McCombs, buoyed by fellow Brokeback member James Elkington (Tweedy), who also engineered and mixed the album.\u003c\/p\u003e\u003cp\u003eOn the album, McCombs plays with spare instrumentation and primarily plays electric and acoustic guitars as well as the Bass VI, drawing out textures that stretch the scope of his instruments. McCombs’ work is pastoral and expansive, his playing is refined and nuanced, and his melodies often bely his admiration for Ennio Morricone as his guitar imbues endlessly sprawling fields of the Midwest with the same sense of magic. It is a true pleasure to hear him perform in such an intimate way. 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Setién’s masterfully allegorical songs are both emotionally immediate and provoking. A musician’s musician, Setién has drawn collaborators from far and wide, from her improvisational duo Little Red Suitcase to more recent collaborations with Steve Gunn, Mary Lattimore, and fellow Basque musicians Xabier Erkizia and Grande Days. For \u003ci\u003eMoonlit Reveries\u003c\/i\u003e, a hallucinatory promenade of mood and rhythm, Setién is joined by renowned drummer\/percussionist Glenn Kotche of Wilco.\u003c\/p\u003e\u003cp\u003eAt the core of \u003ci\u003eMoonlit Reveries\u003c\/i\u003e is the inspiration that Setién and Kotche found in one another. The two met while Kotche was touring Spain with Wilco, Kotche having been a fan of Setién’s 2022 album Unfamiliar Minds. Immediately the two started discussing collaboration which Setién began by using a series of unique drum patterns from Kotche’s “A Beat A Week” series as the basis for tracks like “Surfacing” and “Asking”. Kotche then sent in fresh drum takes for select pieces that embellished the frameworks set by Setién. The songs of Moonlit Reveries also make use of more guitar than Setién previously had ever explored, which Setién traces back to Steve Gunn introducing her to the music of Bridget St. John. “What fascinated me right from the beginning, was the calmness in her voice and her low register. Her music inspired me to ..write songs with a guitar: there’s more space for the voice and the sound qualities of both voice and guitar kind of melt into each other.”\u003c\/p\u003e\u003cp\u003e\u003ci\u003eMoonlit Reveries \u003c\/i\u003eis an embrace of wonder, an ode to the alluring beauty, and glow of dream states. For Setién, dreams are to be appreciated. The compositions are speckled with otherworldly embellishments, from ghostly harpsichords to cavernous echoes to reverberating kalimba. Title track “Moonlit Reveries” revels in a playful mystique, Setién’s words carried by the wind across the night’s sky. Mothers” captures the hopeful embrace of parenthood, letting go- and that cycle of life, was written in the wake of Low’s Mimi Parker’s premature death. A mother and artist herself, Setién was deeply saddened by the loss while drawing strength from what Parker accomplished in her short time.\u003c\/p\u003e\u003cp\u003eThe winner of several Basque music awards, Elena Setién’s beautiful voice, creative arrangements, and both improvisational and compositional experience make for sophisticated songs with singular textural approaches. 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Vocalist\/guitarist Jake Smith delivers sharp humor with a healthy dose of venom and bile with each bestial growl while his dirty riffs roar at you. Recorded by Bernsten at his own Developing Nations studio (Full of Hell, Integrity, Jarhead Fertilizer) and J Robbins’ The Magpie Cage, the band’s self-titled album features artwork drawn by artist and drummer John Herndon (Tortoise), known for his singular drawings and his band’s iconic TNT cover. Eye Flys wades deeper into the muck and mire of modern living to take an unflinching look at the horrors of late-stage capitalism and offer a caustic remedy for its ravages.\u003c\/p\u003e\u003cp\u003eExpanding on their bludgeoning debut \u003ci\u003eTub of Lard, Eye Flys\u003c\/i\u003e is lean and aggressive, fast and unforgiving. 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Reflections of her punk and electronic forays bubble up in a collaborative composition with Emptyset’s James Ginzburg, summoning raw, primal energy. Under the Sun encourages us to explore how we relate to our environment. Shenfeld’s slowly evolving, hypnotic pieces make canny use of repetition, space, and silence to play with our very sense of time and our relationship to our surroundings. 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Much of the album is inspired by “really disgusting food”. Medieval Soup from the Milkbar references the epically bad meal of gray, gruel-like soup, and seeps into the track’s noxious slurry and stomach-churning riffs. “Portable Aquarium” was born of a cup of herbal tea overflowing with foliage. Their playful and often self-deprecating sense of humor allows them to find inspiration in the smallest of life’s events. Persher’s \u003ci\u003eSleep Well\u003c\/i\u003e provides a daring, revelatory expansion on heavy music’s myriad mutations. The duo uses their production skills and their humor to embrace the powerful release they find in extreme. 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Their fusillades of textural distortion and feedback emphasize their music’s frayed edges as much as its all-encompassing weight. The potency of the trio’s work is their singular artistry combining elements of traditional folk techniques and a modern deconstruction of guitar music. Gain, feedback, and amplitude are essential. For \u003ci\u003eA Chaos Of Flowers \u003c\/i\u003eguitarist\/vocalist Robin Wattie drew heavily on the poems of artists whom Wattie found kinship in, their words resonant with experiences of those often sidelined by cultural norms. “I discovered that most poems from folk traditions or in the public domain seem to be by men – to which I could not quite relate. In my search, I rediscovered some of my favorite works and poets,” says Wattie. Guitarist Mathieu Ball and drummer Tasy Hudson help Wattie shape poetry into pieces as dense and impenetrable as they are vulnerable. Big|Brave achieve their colossal sound through minimalist approaches, a deft understanding of dynamics and an inventive employment of percussion and distortion. The trio reconceptualize what it is to be heavy or minimal, challenging perceptions with their illumination of painfully overlooked perspectives. Guest guitarist Marisa Anderson lends earthen, blues-inflected atmospheres to the album, where guitarist Tashi Dorji and saxophonist Patrick Shiroishi amplify the squall. Working closely with frequent collaborator and producer\/engineer Seth Manchester, the internal tumult of Wattie’s voice rings out in warbles, haunting echoes, and unearthly harmonies across bold immense walls of distortion. Big|Brave have collaborated with metal monsters The Body on a previous Thrill Jockey release, Leaving None But Small Birds, and have toured internationally with bands like Sumac, Godspeed You! Black Emperor, SUNN O))), and Lingua Ignota. 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The spare guitar playing and laconic tempo both drive the songs and exude a sense of resignation.\u003c\/p\u003e\n\n\u003cp\u003eHer delicate mastery of nuance draws on her explorative musical past that she, with sincerity and admiration, seamlessly interweaves into her adventurous textures and distinctive compositions. “I want to belong to the worlds and communities I look up to. Same as someone using a Fender guitar or dressing like Kurt Cobain. Emulate your heroes,” says Rousay.\u003c\/p\u003e\n\n\u003cp\u003eThe album balances the poetic soul of her influences with a documentarian heart, Rousay capturing moments of her life while living alone in houses across the country, learning to play guitar, and reconnecting with pop music. 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Comprised of the quintet of vocalist Taichi Nagura, guitarist Koki Miyabe, drummer Shin Yokota, and electronics \/ noisemakers Taro Aiko and Etsuo Nagura, Endon’s music is contained chaos, bending and colliding genres into one another atop a bed of thunderous distortion, feedback, and unearthly squeals. Vocalist Taichi’s voice embodies an unreal number of personalities with wordless howls seething one moment, and agonized cries the next, before desperate gasps for air. It comes as no surprise that they have been credited as the most extreme band in Tokyo. \u003c\/p\u003e\u003cp\u003e\u003ci\u003eBoy Meets Girl\u003c\/i\u003e was envisioned as a soundtrack to an imagined horror lm about love. The core of the ensemble’s song structures are often built around Koki’s fuzz-laden guitar and Shin’s drum bombast which propel torrents of hisses and squelches from Taro and Etsuo. Taichi’s largely lyric- less screams, moans, and whimpers are potent messengers of the songs’ emotional heft. There lies an ecstatic, excited energy amidst the anarchic de ance Endon’s music exudes. Born of the same Japanese scenes that gave rise to the likes of Merzbow and Boredoms, their sound is equally diverse and abrasive. 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While the Chicago-based instrumental quintet has nodded to dub, rock, jazz, electronica and minimalism throughout its revered and influential six-album discography, the resulting sounds have always been distinctly, even stubbornly, their own. It's a fact that remains true on 'The Catastrophist,' Tortoise's first studio album in nearly seven years. And it's an album where moody, synth-swept jams like the opening title track cozy up next to hypnotic, bass-and-beat missives like 'Shake Hands With Danger' and a downright strange cover of David Essex's 1973 radio smash sung by U.S. Maple's Todd Rittman. Throughout, the songs transcend expectations as often as they delight the eardrums. Tortoise, comprised of multi-instrumentalists Dan Bitney, John Herndon, Doug McCombs, John McEntire and Jeff Parker, has always thrived on sudden bursts of inspiration. And for 'The Catastrophist,' the spark came in 2010 when the group was commissioned by the City of Chicago to compose a suite of music rooted in its ties to the area's noted jazz and improvised music communities. Tortoise then performed those five loose themes at a handful of concerts, and \"when we finally got around to talking about a new record, the obvious solution to begin with was to take those pieces and see what else we could do with them,\" says McEntire, at whose Soma Studios the band recorded the new album. \"It turned out that for them to work for Tortoise, they needed a bit more of a rethink in terms of structure. They're all pretty different in the sense that at first they were just heads and solos. Now, they're orchestrated and complex.\" \"All of the songs went through a pretty intensive process of restructuring,\" adds Parker. \"We actually had quite a lot of material that we ended up giving up on. Oftentimes, we'll shelve ideas and come back to them years later.\" The album's single 'Gesceap' embodies the transformation of the original suite commissions, as it morphs from two gently intersecting synth lines into a pounding, frenzied full-band finish. \"To a certain extent it's more of a reflection of how we actually sound when we play live,\" says McEntire of Tortoise's heavier side. \"That hasn't always been captured as well on past albums.\" Elsewhere, 'Hot Coffee' resurrects an idea abandoned from the band's 2004 album \"It's All Around You,\" gliding through only-on-a- Tortoise-album sections of funktastic bass lines, straight-up dance beats and Parker's fusion-flecked guitar bursts. \"It's progressive experimental music with pop sensibilities,\" says Parker. 'Rock On,' which McEntire says he and McCombs simultaneously had the idea to cover after having remembered hearing it on the radio all the time as kids, isn't the only vocal moment on 'The Catastrophist.' Also included is the bittersweet, honest-to-goodness soul ballad 'Yonder Blue,' sung by Yo La Tengo's Georgia Hubley. \"We'd finished the track and decided it would be good to have vocals on it,\" recalls McEntire. \"Robert Wyatt was our first choice, but he had just retired and politely said no. We were discussing asking Georgia to do something, but not that track in particular. Then we realized it would totally work.\" As ever, Tortoise has conjured sounds on 'The Catastrophist' that aren't being purveyed anywhere else in music today. There's a deeply intuitive interplay between the group members that comes only from two decades of experimentation, revision and improvisation. And at a time when our brains are constantly bombarded by myriad distractions, 'The Catastrophist' reminds us that there's something much greater out there. All we have to do is listen. 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