{"title":"Ba Da Bing!","description":"\u003cp\u003e\u003c\/p\u003e\u003cp\u003eBa Da Bing! is a record label and artist management company based in Brooklyn, NY. With a passion for independent music, Ba Da Bing! has been curating and promoting exceptional talent since [year]. From indie rock to folk to experimental sounds, our diverse roster of artists represents the best of the underground music scene.\u003c\/p\u003e\n\n\u003cp\u003eAs a label, we strive to provide a platform for artists who push boundaries and defy genres. We believe in the power of music to inspire and connect people, and we are dedicated to supporting musicians who create meaningful and thought-provoking work.\u003c\/p\u003e\n\n\u003cp\u003eWith an extensive catalog of releases spanning over [number] years, Ba Da Bing! has become synonymous with quality and innovation. Our team works closely with our artists to ensure their vision is realized while also providing them with the resources they need to succeed in today's ever-changing music industry.\u003c\/p\u003e","products":[{"product_id":"the-operation-of-the-sonne","title":"The Operation of the Sonne","description":"\u003cp\u003eComing after the monster that was \u003ci\u003eHarsh 70s Reality\u003c\/i\u003e, and its evil twin, \u003ci\u003eClyma Est Mort\u003c\/i\u003e, this album has always confounded even soi disant Dead C fans. Side 1 documents the discovery of the analogue synthesiser coupled with field recordings from the basement of Willowbank, Koputai's 'most stately' home. 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Contributors include Cavern of Anti-Matter, Jeremy Barnes and Heather Trost of A Hawk and a Hacksaw and Trost’s band, Roj (formerly of Broadcast), and Nurse With Wound. \u003ci\u003eFlux Gourmet\u003c\/i\u003e is presented in a lush 2xLP package with an ornate, colourful design and Strickland’s detailed liner notes.\u003c\/p\u003e\u003cp\u003eImage, colour, light and sound are integrated and heightened to delirious levels of hyperreality, much like Strickland’s past works, \u003ci\u003eBerberian Sound Studio\u003c\/i\u003e and \u003ci\u003eIn Fabric\u003c\/i\u003e. \u003ci\u003eFlux Gourmet\u003c\/i\u003e very much alludes to his past as a member of The Sonic Catering Band, which he founded back in 1996. The band split on several occasions and got back together to create new pieces for the soundtrack, concocting strange sonic morsels and treating recipes as if they were scores. The lines between what is on the screen and what is on the soundtrack are blurred, with the band (mostly) using the exact same equipment (which they loaned to the production) and recipes as in the film. However, for all the conceptual rigour on display, the music on the \u003ci\u003eFlux Gourmet \u003c\/i\u003eis ultimately in pursuit of catharsis, as one character concedes. The power of music and\/or noise to purge and cleanse its makers (and hopefully, listeners) of their ills and woes.\u003c\/p\u003e\u003cp\u003e\u003cb\u003eTracklist: \u003c\/b\u003e\u003c\/p\u003e\u003cp\u003eSide A:\u003c\/p\u003e\u003cp\u003eA1. Heather Trost - Early Gardens \u003c\/p\u003e\u003cp\u003eA2. Roj - Trip to the Shops\u003c\/p\u003e\u003cp\u003eA3. The Sonic Catering Band - Death Borscht\u003c\/p\u003e\u003cp\u003eA4. The Sonic Catering Band - The Third Gastric Surge of the Night \u003c\/p\u003e\u003cp\u003eA4. 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While audiences in the West are only just learning she exists, her accomplishments are unquestionable; she contributed to the soundtrack for The Legend of Zelda: Link’s Awakening, was cited by Owen Pallett as an inspiration (“I’ve never been so blindsided by a musician as I was by Ichiko Aoba”), and has collaborated with the likes of Haruomi Hosono, Cornelius (who met her only two years after she first picked up a guitar and was blown away), Ryuichi Sakamoto, and recently Mac DeMarco.\u003c\/p\u003e\n\u003cp\u003eIchiko Aoba’s iconic voice and classical guitar playing are immediately recognizable, timeless sounds. \u003ci\u003eWindswept Adan\u003c\/i\u003e, envisioned as a soundtrack for a fictional film, builds its own world with sweeping co-production and arrangements from Taro Umebayashi, which “recall the Wes Anderson scores of Mark Mothersbaugh or the cinematographic swells of American composer Jherek Bischoff” (Bandcamp). 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Producer Tom Healy invited Finn to his small studio underneath the old Crystal Palace ballroom in Mount Eden, and they listened through the legions of songs he had amassed throughout the previous year. “Tom was incredibly patient, it was a really laborious process - I brought a lot of junk down there and we had to sift through it all to try and find the parts worth saving.”\u003c\/p\u003e\n\n\u003cp\u003eFollowing another two years of intermittent recording between lockdowns, Finn’s wife became pregnant, and yet more songs started coming. “Unlived moments within youFurther than I can see” By the time the songs had been recorded, it was clear that arranging the album into two halves best suited such varied material - but the meaning of the songs as a whole still eluded Andrews. “Then my daughter was born, and suddenly the whole record made sense to me,” he says.\u003c\/p\u003e\n\n\u003cp\u003eThe music was telling a story, and somewhat strangely for \u003cem\u003eThe Veils\u003c\/em\u003e, it seemed to have a happy ending. 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Well, it’s a bit like Canned Heat but with Pere Ubu’s queasy rhythms and someone playing five finger fillet with Swell Maps. Ensconced in his ivory tower and soundproof rooms, Nance reached for unlikely weapons to tear down his own lofty experiment. He had his pick of rare guitars, cowbells, steel drums, vintage amps, Crazy Horse microphones, mellotron, and the restless but indefatigable rhythm section of Kevin Donahue and Tom May. They started at sunrise and recorded fifteen songs by midnight. Maybe it’s his Midwestern work ethic, maybe he’s a sonic cheapskate. Maybe it’s just the sound of negative boogie. These songs stab and flow into one other like a perfectly orchestrated classic. They are drenched with Nance’s most biting and comic lyrics to date, peaking on “D.L.A.T.U.M.F. Blues (Don’t Look At This Ugly Mother Fucker Blues)”. And ripping through the entire thing is the cracked power he yanks out of the guitar, a veritable The Good, The Bad And The Ugly of riffage. This is a departure for Nance. It’s bigger and grander but it’s far from easy music. It’s his Plastic Ono Band, his For Your Pleasure, his fever dream of Rocket from the Tombs. But this of course is only a press release, written by a team of robots using words programmed to seduce you.\u003c\/p\u003e","brand":"Ba Da Bing!","offers":[{"title":"CD","offer_id":50481486299467,"sku":"1013255","price":14.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/c1aa8da7-819f-42bd-971c-55b5eee0e75c_thumbnail_4096.jpg?v=1727540272"},{"product_id":"cold-liquid","title":"Cold + Liquid","description":"\u003cp\u003eAnita Clark’s new Motte album, \u003ci\u003eCold + Liquid\u003c\/i\u003e, builds glacial atmospheres, frozen moods and isolated impressions. Portraying New Zealand through socio-geological sound, breathing in Christchurch cultures and locales, the album embodies an artistic simulation of the Kiwi environment. With this release, Clark aimed to make something colossal, and set about finding the right textures to add. A friend who works at Oamaru Freezing Works gave her field recordings of the temperature control room, a vast cold space of isolated machinery, where ice grows and dissolves in ever-evolving sculptures. Getting her hands on shortwave\/longwave radios, she incorporated frequency sweeps. Another friend provided her with the mechanical drones underneath the deck of a cement cargo ship, as it lay docked in Lyttelton Harbor. Still more sources came from Sign of the Bellbird, an historic environmental site in South Christchurch, where Clark and Thomas Lambert recorded bellbirds, rolling boulders, snapping sticks, thrown dirt and the papery sound of the native harakeke plant. While violin dominates the first Motte album Strange Dreams (2017), Clark sought to expand instrumentation. She was gifted a handmade Pūrerehua puoro, a traditional Māori instrument that sounds similar to the whirling and hovering of a moth (which is “motte” in German). A reacquaintance to the guitar occurred after developing an alter-ego project entitled Sex Den, with sleazy noir-esque guitar riffs in response to a failed rumour from a local drug-addled dive bar. Guitar and synth allowed for a broader songwriting palette along with a sometimes Dadaist approach to lyric writing. These new tools accent the extreme ambiences of \u003ci\u003eCold + Liquid\u003c\/i\u003e, while additional work was provided by Ben Woods on synth and bowed guitar. Listening to \u003ci\u003eCold + Liquid\u003c\/i\u003e is a fulsome experience of articulated sound and specific place. 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Name-dropped through the nineties by groups like Sonic Youth and Yo La Tengo, they gained influence and acclaim but never strayed from their original mainlined performing technique, which can sound like chaos to the casual listener.What kind of a world greets them and their new album \u003ci\u003eUnknowns\u003c\/i\u003e in 2020? New Zealand culture is better known throughout the world, not to mention a low-virus paradise. Yes, isolated as in the past, but this time for being a nation of efficacy in tackling a public health crisis. But what about the rest of the world? The music of Mssrs. Robbie Yates, Bruce Russell and Michael Morley endures, partially because their errant sounds, once so alienating, now feel like they’ve been made flesh in a large part of the modern day world.Continuing to delve inwards for inspiration with tin ears towards trends, styles and technique, The Dead C forge onward. Unpolished, dusty and gritty, these three have again taken two guitars and drums, a combo which has less to say than ever, and leave the listener stunned. Unknowns has Morley slurring over spiraling dissemblance, with tracks ricocheting from intense to assaultive to drained, yet consistently magnificent. As reliable as ever, The Dead C are firmly grounded as an unassailable Truth.\u003c\/p\u003e","brand":"Ba Da Bing!","offers":[{"title":"Black | LP","offer_id":50483503595851,"sku":"1102887","price":27.99,"currency_code":"GBP","in_stock":false},{"title":"CD","offer_id":50483503169867,"sku":"1102886","price":14.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/34e8cf35-1eb7-4288-ba8e-6da7befbb3c5_thumbnail_4096.jpg?v=1727568813"},{"product_id":"wabi-sabi-2","title":"Wabi-Sabi","description":"\u003cp\u003eFor fans of Daughter, Mazzy Star and the Kills. 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Little did customers know, the same store they’d drop off their Transformers movies was providing the ideal four-year cocoon for the development of a major musical talent. Spaltro worked the 3:00 PM to 11:00 PM shift. Each night, after locking up, she’d walk past Drama and Horror, pull out her music gear from behind a wall of movies, and write and record songs until morning broke. She did this every day, drawing strength from the monotony of her routine and testing out multiple techniques, approaches and instrumentation. Anger, confusion, love, happiness and sadness reigned, and the songs ran rampant, with little form or structure. Isolated for those many hours, Spaltro let melodies morph together, break apart and pair up. This is how she taught herself to write music and sing. Taking the name Lady Lamb the Beekeeper, Spaltro became one of the most beloved musicians in Portland. Her live shows were unhinged, as melodies followed an internal logic only apparent to Spaltro herself. She sang and played guitar, and the songs offered a vivid yet brief snapshot of her expansive world. At 23, with years of writing and performing music already under her belt, she ventured to the next milestone—recording an album. This would be the first time she did so in a professional studio and the first time she shared the process with anyone else. Luckily, she met Nadim Issa at Let ’Em Music in Brooklyn. He was taken enough by her abilities to dedicate nine full months toward the recording of Ripely Pine, and she with his producing abilities to ease comfortably into making him a part of her recording process. She wrote everything—all the songs, all the arrangements. And the two of them assembled an album that finally fit what existed in Spaltro’s mind. Keeping the songs’ stark rawness, the record is a pure representation of her sound. Ripely Pine shouts the introduction of a new talent from every groove. These recordings come as close as possible to conveying the intense majesty of her live shows, and, much like those performances, a narrative breathes through the record’s progression. The album opens with urgency and anger, settles into reconciliation and reciprocation, and ultimately reaches toward resolution, realizing infatuation leads to a loss of self; instead, embracing one’s own strengths is the most powerful thing of all.\u003c\/p\u003e","brand":"Ba Da Bing!","offers":[{"title":"Black LPx2","offer_id":50490815742283,"sku":"2049032","price":37.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/getImage.php_bc8fb064_thumbnail_4096.jpg?v=1727675378"},{"product_id":"dreamloops","title":"Dreamloops","description":"\u003cp\u003ePresenting the first vinyl release of Dreamloops, a collection of long-form tracks that form a stunning two-and-a-half-hour suite over four LPs. The box set has been created, mixed, and designed by Dennis Huddleston, who, as 36 (“three-six”), is among the most celebrated electronic musicians operating today. Praised for his ability to imbue songs with strong, relatable undercurrents, Huddleston achieves a new level of subconscious connection with Dreamloops. First appearing in 2019 as a series of cassettes, Dreamloops was revisited by Huddleston in 2023 to bring newfound clarity, focus, and cohesion. There are eight pieces, each an 18:00 minute standalone self-contained work. In each song, time slows as an ensemble of sounds builds on themes and develops emotional power. Much like epic works such as The Sinking Of The Titanic by Gavin Bryars, LaMonte Young’s Well-Tuned Piano, Daughters Of Darkness by Natural Snow Buildings and Morton Feldman’s String Quartet II, each fragment of Dreamloops culls developing melodies towards hauntological steps forward. Sound spectrums don’t spread wide but instead focus on a precise musical statement, exploring its absolute potential. That said, Dreamloops does not exist in its own idealized sphere. Deep listening reveals tape hiss, oversaturation, wow and flutter, and similar imperfections. The fingerprints deepen part of these tracks’ emotional impact. Henryk Gorecki’s humanity meets Max Richter’s sense of grandeur meets Deathprod’s absolute sound mining, as Huddleston deftly maneuvers his songs toward momentous epic impact. “Emotions get tied in our mind with specific sounds,” Huddleston says. “The whole point of creating music is to explore and discover those frequencies.” A simmering nostalgia is ever present. “There is a beauty in this sound…[where] you can truly glimpse into the soul of the composer.” —Headphone Commute “Warm, hugely emotive loop-based compositions, with particular emphasis on melody and atmosphere.” —The Rest Is Noise\u003c\/p\u003e","brand":"Ba Da Bing!","offers":[{"title":"Black LPx4","offer_id":50507247714635,"sku":"2209367","price":79.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/getImage_-_2024-07-05T171318.985_134473bf_thumbnail_4096.jpg?v=1727844151"},{"product_id":"the-vanishing-point","title":"The Vanishing Point","description":"\u003cp\u003eFables of the future fuel the present. Lisel (Eliza Bagg) draws from this tradition on The Vanishing Point, a daring musical odyssey of altered singing, experimental pop, broken melodies, and striking electronics. A culmination of her continual dissemblance of genre, Lisel’s new album is an epic composed of allegorical tales, forming a dystopian storybook of life in the shadow of impending catastrophe. It’s a high-concept work of contemporary pop sounds, hyperpop motifs and tropes. Every song reflects the shared psycho-emotional experience of moving towards unsettling futures and looking beyond these outcomes, to the point where the horizons vanish. Evolving the sonic toolkit she employed on Patterns For Autotuned Voices And Delay (2023), Lisel transforms pop into a canvas for operatic storytelling. Along with making her own work, Bagg is a classical singer working in baroque and contemporary experimental opera, and with her project Lisel, she seeks to develop new, expressive qualities out of ancient vocal techniques from the Baroque and Renaissance periods. Her opera experience has infused her with a desire for a big, cinematic sound and holistic world-building, creating a “total artwork,” and she fits that medium into the form of a solo project. From haunting whispers to soaring melodies, she reaches back towards ancient musical traditions while incorporating futuristic sounds in order to imagine how a possible future might look back at contemporary existence. Dystopic stories melt into pop songs, hammered to ruin. Both through sonics and lyrics, the album recounts urgent narratives as ancient mythological fables, chronicling in operatic density the deepening awareness of the world’s looming, inevitable vanishing point. Photographer Carla Rossi further builds Lisel’s world through a series of photographs that similarly draw on Renaissance and Medieval painting, while placing them aesthetically in a digital realm. In these dramatic, hyper-stylized photos, Lisel takes up classical poses and yields iconographic symbols, further exploring the dissonance in her work as these manufactured “paintings” recall storytelling of the past while depicting images from an imagined future.\u003c\/p\u003e","brand":"Ba Da Bing!","offers":[{"title":"Black LP","offer_id":50518494118219,"sku":"2226303","price":32.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/getImage_-_2024-10-03T123211.889_898e026f_thumbnail_4096.jpg?v=1727971274"},{"product_id":"the-wickies-2","title":"The Wickies","description":"\u003cp\u003eQuinnisa Kinsella-Mulkerin recorded her first song at five years old with her parents, who comprise the adventurous Maine band, Big Blood. Ever since the age of five, she was writing songs, banging on chimes, strumming guitars, and clanging together whatever else she could find. Improvisation was natural, and she stuck to the approach. Quinn brings this innate sense of songwriting to The Wickies, a duo she formed with Aiden Arel a year ago at age 16, whose chill approach and fluid delivery belie true inventiveness in the underneath mechanics. Inspired by seventies folk icons like Stevie Nicks, Krautrock bands like Can, and modern indie-rockers like Alex G, The Wickies feel like an amalgamation of these decade-spanning sounds, but uniquely their own. Quinn’s voice croons like a seventies folk star, but it possesses a great and controlled tone. Her vocals feel like another instrument within the mix, building and growing each song to its fullest sound, leaving no detail within the mix unheard. Their use of echoing guitar lines recalls sixties psych, a springboard for their unique take. Quinn’s lush, free-flowing lyrics, created on the spot, complement Aiden's fleshed out backing instrumentation and over-dubbing. Quickly, the pair created more material than they ever needed, allowing them to mold their recordings into a self-titled debut album. Like a painter crafting the perfect exhibition of their finest work, Aiden and Quinn condensed their improvisations to all the best parts. Tracks like “Campfire Song” and “Skipping Pond,” exemplify the ethereal and lackadaisical atmosphere of their sound. “I keep finding these weird, obscure bands from the seventies that have one album and nothing else, which is awesome,” Quinn said, “I want my music to sound like somebody found it in a record store that no one has ever heard of and uploaded it to YouTube. 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Alexander, along with bandmate Luke Cartledge, place the propulsive power of their beliefs at the core of their debut full-length album, and their guiding motivation towards social justice is as fierce as it is welcoming.\u003c\/p\u003e\u003cp\u003e“Living as part of the queer community, and being queer myself, leads me towards supporting every person’s truth,” Alexander says. Scrounge’s songs skip to a fast beat, electrifying the entire album with a sense of empowerment. Their approach is OG punk: they make music for their peers and themselves. Only now, with a world of connections possible, they’re able to open arms wide for a far-reaching embrace. Alexander’s rich vocals give their sound its central force, anchoring the songs with confessional lines (“If this is the pinnacle, then I need a miracle\/ Cause everyone’s laughing at me,” “There’s not much left\/ this corpse I have to keep\/ Above board.”). They sing about economic inequality, political corruption, environmental destruction, and collective change. “We’re inspired by those around us, and we write about what we care about. Art has always existed for us as a means of catharsis, a way of expressing something we might not be able to otherwise, and we hope our music can be that for other people too,” says Alexander.\u003c\/p\u003e\u003cp\u003e“I think I’ve actually written a filthy banger,” she states while re-listening to “Buzz\/Cut”, a grunge-honoring hammer of a song that takes a journey from disappointment, to self-realization, to release. 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A two-and-a-half-year gestation period offered challenges, disappointments, and joys reflected in the cramped space of the album, which explores how we handle the weights we carry.\u003c\/p\u003e\u003cp\u003eEmily Cross had held hundreds of Living Funerals and was as many episodes deep into her podcast, What I’m Looking At. She was five years into serving clients as a death doula and fresh off a tour with Loma, her band with Jonathan Meiburg (Shearwater) and Dan Duszynski, when she began work on her fourth album. After moving from Austin, TX to Dorset, UK, she established the Steady Waves Center for Contemplation (named after a track from her second record, Wabi-Sabi ), where she hosted Living Funerals, met clients, scheduled mindful tea sessions, and showcased experimental music nights. All the while, she was scribbling down song ideas.\u003c\/p\u003e\u003cp\u003eCross’s Tascam four-track demos finally reached readiness, and she sent them to an interested major independent label. She was encouraged to push her imagination to the limits of what a record could be. So, unlike her usual process of recording as inexpensively as possible, she prepared a two-week recording session in Germany with a group of skilled musicians from around the world.\u003c\/p\u003e\u003cp\u003eTrue to her previous work, Cross left plenty of room in her demos for experimentation, collaboration, chance, improvisation, and complete obliteration, then resurrection when necessary. Comfort and traditional structure were eschewed in favor of unaccountable magic, prayers whispered into The Void. Cross is comfortable with the chaotic and unpredictable, a perspective demanded by her work and writing style.\u003c\/p\u003e\u003cp\u003eThe Berlin Airbnb was packed with people, instruments and luggage. During a ride down in a tiny elevator to the studio, Cross realized how central the sense of being crushed was to the album. “I thought of it later and it dawned on me that ‘Crush Me’ perfectly embodied the record,” says Cross. Yes, the weight of a body laying limply atop yours, or the tight squeeze of a hug, can be pleasant. Go too far, and you’re in the hands of a cruel, adolescent god.\u003c\/p\u003e\u003cp\u003eUpon leaving Germany, the record was unfinished, and without a roadmap. As passages were recorded as isolated parts, Cross and musician Marcin Sulewski collaborated, facing a haphazard brick pile, waiting to be assembled. Work dipped in and out of view like a buoy bobbing in a violent sea over many months. During that time, the aforementioned interested label went radio silent, suddenly not seeming so sure of a thing. Collaborators disappeared, continuing the themes of abandonment, surrender, and disarray that followed the project. Cross physically felt her entire body go numb:\u003c\/p\u003e\u003cp\u003eIn a twist of fate, the record was rescued by long-time friend and supporter Ben Goldberg at Ba Da Bing Records who was eager to help realize the project. Cross worked for months on the album, all the while nursing a pregnancy and continuing her full-time funeral work. The last minute participation of Seth Manchester of Machines with Magnets, who mixed and mastered, was an essential liferaft. He gave true final form to the abstracted songs.\u003c\/p\u003e\u003cp\u003e\u003ci\u003eCrush Me\u003c\/i\u003e has the effect of a spell being cast, with songs balancing heaviness and levity. Vocals, guitars, and keyboards float above, as drums and upright bass (often bowed) lurch beneath. On “Rolling Backwards” percussion wanders about while feedback squeals and persists in the distance. “Dorset Area Of Natural Beauty” starts with a thick, unhinged church organ progression punctuated by the disquieting sounds of laughter reaching the point of hysteria. “God Fax” is a slow-moving panic attack, with shallow breaths in and out framing a guttural cacophony like a wooden freighter encountering increasingly turbulent waters and vocals struck emotionless by autotune.\u003c\/p\u003e\u003cp\u003eThe album ends with “Twisted Up Fence,” a reflection on life from outside the wall--wistful, warm, and comforting. Cross, likely with a smile on her face, sings:\u003c\/p\u003e","brand":"Ba Da Bing!","offers":[{"title":"Black LP","offer_id":51140832362827,"sku":"2240664","price":21.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/Crush_Me_14580c13_thumbnail_4096.jpg?v=1737556166"},{"product_id":"charm-of-yesterday-convenience-of-tomorrow","title":"Charm Of Yesterday... Convenience Of Tomorrow","description":"\u003cp\u003eMaybe everything has been going to such shit lately because Barbara Manning has been hibernating. A Matador Records mainstay and pivotal indie-rock pioneer of the nineties, Manning has continually written material that matches the quality of the many songs she covers. Both as a performer and a listener, Barbara Manning is a passionate lifer. While her music is compact and succinct, it is steeped in multitudes of genre periods and styles. From SF Seals to her work with Stuart Moxham (Young Marble Giants) to The Go-Luckys, every collaboration carries her genius melodies and lyricism. In a four minute catchy song, Manning can communicate what others require novels to express. Her fans include Yo La Tengo, The Clean, Sonic Youth, Tall Dwarfs, Pavement, Calexico, The Replacements, and even Faust (don’t forget her prolific work as half of free-sound stalwarts Glands Of External Secretion.) With an upcoming tour joining Codeine, Manning felt the time was right for something new. Thus, Charm Of Yesterday…Convenience Of Tomorrow. It compiles a few different periods. Chico Daze is a song cycle that absorbed the dark times and experiences she had in Northern California through the 2010s. The Porch Series cover songs were Manning’s antidote to pandemic madness, and features the music of Elliott Smith, Edgar Winter, Richard \u0026amp; Linda Thompson, Galaxie 500, Bob Dylan and The Handsome Family. Now situated near Los Angeles, where she works as a drama teacher, Manning has been playing live again and recording, channeling her innate sense of theatricality and dynamics into this new musical era. Charm Of Yesterday…Convenience Of Tomorrow heralds a new phase of releases for an iconic, legendary artist set to reintroduce herself and show how beautiful songwriting flames eternal.\u003c\/p\u003e","brand":"Ba Da Bing!","offers":[{"title":"CD","offer_id":51245871399243,"sku":"2167693","price":14.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/test_a5f176c8_thumbnail_4096.jpg?v=1739229006"},{"product_id":"i-am-a-tree-i-am-a-mouth","title":"I Am a Tree, I Am a Mouth","description":"\u003cp\u003eHaving carved out a niche performing groundbreaking chamber opera around the world, Australian singer Jane Sheldon’s first solo album finds a path through the combination of Rainer Maria Rilke (a German poet dead for almost a century), her voice, and seven gongs. On \u003ci\u003eI Am A Tree, I Am A Mouth\u003c\/i\u003e, working with one gong for each song, Sheldon launches herself into experiments with layered voices, electronic processing, and super-slowed-down fragments of sonic resonance, where she skirts the edge of avant rock to find her true singular voice. It’s an album that’s viscerally human, earnestly sensual and passionately transcending, drawing inspiration from Sarah Davachi, Hildegard von Bingen, Maryanne Amacher and Lhasa de Sela. \u003c\/p\u003e","brand":"Ba Da Bing!","offers":[{"title":"CD","offer_id":51246134821195,"sku":"2201114","price":14.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/I_am_a_tree_I_am_a_mouth_707c5c53_thumbnail_4096.jpg?v=1739232464"},{"product_id":"cycles-4","title":"Cycles","description":"\u003cp\u003eThe world of \u003cem\u003eCycles\u003c\/em\u003e is supine and aquatic. Sounds echo within sounds, which encircle melodies like small creatures gathering. As both a record and a series of short films, Haroula Rose and Oliver Hill have created a friendly, multi-faceted planéte sauvage. \u003cbr\u003e\u003cbr\u003eWritten and recorded in one torrentially rainy week at home in Los Angeles, the music explores the acoustics of the tactile world - sounds coarse and smooth, heavy and light, the smell of wet terrain after a long drought, a long deep breath coming up from dark water to the surface. \u003cem\u003eCycles\u003c\/em\u003e presents earthy, bubbling spaces which are womblike and nourishing - not surprisingly, \u003cem\u003eCycles\u003c\/em\u003e was conceived and completed in tandem with the birth of their first child. \u003cbr\u003e\u003cbr\u003eInstruments were splayed on the rug and a set of creative constraints were put into place: no words, no drums, no guitars, yes dynamics, yes field recordings around the house, yes fades and slowly overlapping layers. And of course, bells. The result is a series of mercurial and cinematic scene changes - stepping through doors, popping out windows, crossing into and out of interior and exterior settings. \u003cbr\u003e\u003cbr\u003eHaroula and Oliver bring together dovetailing artistic histories across media - as a filmmaker, Haroula’s feature directorial\u003cspan class=\"bcTruncateMore\"\u003e debut Once Upon a River went to over 40 festivals internationally taking home 19 awards, and her sophomore feature All Happy Families, starring Josh Radnor and executive produced by Michael Shannon, saw a theatrical release in AMCs last fall. Oliver wrote the score and original songs - that soundtrack will be released later this year. \u003cbr\u003e\u003cbr\u003eThe charcoal artwork and vinyl packaging was made by Haroula and Oliver the same week as recording. 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The band had toured with Cheap Trick and The Godz, met Bruce Springsteen and Joni Mitchell, and things were looking bright. But Casablanca unexpectedly went bankrupt, and the label’s artists went into freefall. Trigger unsuccessfully sought interested parties, shelved the recordings and disbanded; a disappointing end for a band who dominated the Jersey Shore club scene on their way up with fiery, kick ass live shows. RIP Trigger: 1973-1979. Jump to 2024. Guitarist Richie House is living in Northern New Jersey with his wife, enjoying a relaxing afternoon at the community pool with neighbours. One of them, Andrew Wexler is shocked to discover his friend had a band in the ’70s. He listens to their recordings, and as an avid record collector, assumes the mission of getting that unheard second album released. He writes to Ba Da Bing, a label with Jersey roots. Much excitement ensues. \u003cem\u003eSecond Round\u003c\/em\u003e’s long-awaited release will now be available. All original members—Derek Remington (vocals\/drums), Jimmy Duggan (guitar\/vocals), Tom Nigra (bass guitar\/backing vocals), and Richie House (lead guitar\/vocals)—are present on the recordings. Sadly, Duggan and Nigra have passed away, but Remington and House have overseen this reissue, with songs sourced directly from the analog masters. The Trigger of today maintains a high level of quality, albeit with a bit less flair, and even less hair. And there’s more going on here than at first listen. While the band carries the earmarks of their era—melodic hard-rock fashioned for Saturday night parties—they override the cliché with incredibly catchy songs. How would a ripping song like “Back Talk” have been received in 1979? It’s a question we’ll never be able to answer, but the raw energy of the track spans generations. “One In A Million,” however, with its full harmonies and forceful chorus, could have easily made the soundtrack for Fast Times. Celebrate the discovery of this lost gem by giving it a listen. You’ll be Trigger happy…\u003c\/p\u003e","brand":"Ba Da Bing!","offers":[{"title":"LP - Black","offer_id":51776916586827,"sku":"R9741-7623","price":27.99,"currency_code":"GBP","in_stock":true},{"title":"CD","offer_id":51776916554059,"sku":"R9741-0556","price":12.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/getImage_2.jpg?v=1746532062"},{"product_id":"under-blue","title":"Under Blue","description":"\u003cp\u003e\u003cmeta charset=\"UTF-8\"\u003e\u003cspan\u003eFollowing up her 2017 release, \u003cem\u003eI Wish I Were a Sparrow\u003c\/em\u003e, multi-instrumentalist Laura Baird returns with \u003cem\u003eUnder Blue\u003c\/em\u003e, an intimate depiction of grief tied to the mourning of her father. The album is anchored by folk guitar and banjo, as well as Baird’s strong lyricism and serene harmonies. \u003cem\u003eUnder Blue\u003c\/em\u003e showcases Baird’s most authentic self as both a musician and creator, painting naturalistic images of her childhood and adult life to explore themes of change, relational depth, and finding peace. \u003cem\u003eUnder Blue\u003c\/em\u003e is as much an ode to her father as it is to herself, while serving as an homage to nature, which fuels her creative process. Baird’s writing for this solo project began in 2012, during the recording of Sparrow, and continued after 2018 when she returned to her childhood home in southern New Jersey, near the Delaware River.\u003c\/span\u003e\u003c\/p\u003e","brand":"Ba Da Bing!","offers":[{"title":"CD","offer_id":53581262258507,"sku":"R6900-1916","price":11.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/laura_baird_2_jpg.webp?v=1760248479"},{"product_id":"ginger-beef","title":"Ginger Beef","description":"\u003cp class=\"\"\u003e\u003cspan\u003eTijuana Taxi, Classical Gas, Soul Bossa Nova. \u003c\/span\u003eSpurred by the warm response to their first and only song, the couple wrote new material, joined forces with heavy hitters from the local R\u0026amp;B and Gospel scene, and thrilled Calgary audiences with their explosive live performances. When their new fans all but demanded a recording, Li and MSG locked themselves in their basement studio and painstakingly crafted Ginger Beef’s first album. They ordered up a small run of CDs and released the album independently. To their surprise and delight, their home-cooked debut was immediately met with critical acclaim and was nominated for a Juno award. All this validation made it clear that the album deserved greater distribution and reach than they could ever manage with their own limited DIY resources.\u003c\/p\u003e\n\u003cp class=\"\"\u003eNow signed with Providence-based Ba Da Bing Records, Ginger Beef drop their celebrated album on unsuspecting music fans everywhere in a brand-new vinyl re-release!\u003c\/p\u003e","brand":"Ba Da Bing!","offers":[{"title":"LP - Black","offer_id":53581379305803,"sku":"R9012-8129","price":28.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/2000x2000bb_7e926be6-5db5-4a82-b5af-2a4d71363cd9.jpg?v=1760251782"},{"product_id":"undertow-1","title":"Undertow","description":"\u003cp\u003eWith her first album \u003cem\u003eUndertow\u003c\/em\u003e, London-based composer\/singer-songwriter Sophia Hansen-Knarhoi reveals stark vulnerability nestled in a dark ambience that is both intimate and expansive. \u003cmeta charset=\"UTF-8\"\u003e\u003c\/p\u003e\n\u003cp\u003eVoice and cello entwine to provide a cinematic intensity to songs that tell stories of memory, growth, and the raw, often dark, textures of emotion. with cinematic intensity.. ‘Undertow’ tethers intimacy to the corporeal, spanning violation and deep trust.. It deals with the fallout of the victims of violence against women, voyaging through fear and pain to absolution.\u003c\/p\u003e\n\u003cp\u003eBorn in Perth, Western Australia, Hansen-Knarhoi grew up surrounded by the natural world. ‘Undertow’ draws on the stark landscapes of Western Australia. At moments, field recordings are woven into the work, while at others, arrangements reflect its beautiful barren environment through memory. “Engulfing myself in nature has always been a way for me to process the world, to bring me back into my body and my senses”. ‘Undertow’ revels in this remote sonic landscape\u003c\/p\u003e\n\u003cp\u003eHer 2023 debut EP, \u003cem\u003eWildflowers\u003c\/em\u003e, explores the transition from childhood to adulthood, blending ethereal, delicate vocals with graceful and tender instrumentation to embody memory, trauma, and the moments that shape us. This time, with the skilled Brooklyn producer Randall Dunn as a collaborator, \u003cem\u003eUndertow \u003c\/em\u003epushes further into the abstract, a dark and dissociative space. Dunn carves intricate space around the lyrics, etching into the soundscape with tension. 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Their self-titled debut album covers desire, obsession, longing, and grief, taking place in basements, night buses, and gas stations, with gum stuck to desks and drinks spilled on sticky floors. Throughout the record, distorted vocals crash and ascend in unison with thrashing drums, plump basslines, and staticky guitar overdrive, lurching between restraint and eruption.\u003c\/p\u003e\n\u003cp\u003eA Mad Iris song teeters on disaster, shifting from gritty feedback to intentional sloppy haze, like the sound of a tape machine overheating. Strong, sparkling production is complemented by a wall of noisy visuals: videos that emulate a worn VHS tape, scrapbook show flyers, and alleyway photoshoots. “Our visuals are an integral part of the band’s style,” says bassist Ela Hinatsu, who shares lead vocals with guitarist Kaiya Rosie, often on the same song. With a deliberate sound, style, and presence, Mad Iris goes beyond being a band, becoming more of an art project.\u003c\/p\u003e\n\u003cp\u003eOpening track, \"Silver Nails\", sets hushed, breathy vocals floating over a screechy guitar line, played by Patrick Muldoon, before collapsing into distorted, whiny grit and greedy screams, ending the track with a guitar solo from producer\/mixer Ximuna Diego, who, with his own musical expertise, is the secret to Mad Iris' signature distorted sound. The album oscillates between sweet and bitter, pretty and dirty, lust and shame. “Poor Baby” is soaked in self-pity and pointed blame, building from scratchy dual vocals and warm analogue tones into a fever pitch, led by drummer Josh Pryce. “Goldfish” opens with buzzing guitar riffs and addictive drums, as bittersweet vocals cut through muddy noise. 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