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Boards Of Canada'
Music Has The Right To ChildrenReleased in 1998, the debut LP from Mike and Marcus Sandison is nothing short of iconic: from the lulling Yamaha CS-70 synths of 'Wildlife Analysis' to the gauzy stumble of 'An Eagle In Your Mind' through to the the swirling electronics and public information samples of 'One Very Important Thought', Boards of Canada displayed a way with mood and texture that no one else could match. It's immersive beats and grainy details remain completely magical.1. Wildlife Analysis
2. An Eagle in Your Mind
3. The Color of the Fire
4. Telephasic Workshop
5. Triangles & Rhombuses
7. Turquoise Hexagon Sun
8. Kaini Industries
11. Rue the Whirl
14. Pete Standing Alone
15. Smokes Quantity
16. Open the Light
17. One Very Important Thought$25.99Vinyl LP - 2 LPs Sealed Buy Now
Tomorrow's HarvestThe idolized and enigmatic duo are back. After considerable speculation by their rabid fan base (not to mention the media following every step of the way), Boards of Canada have revealed that their new album Tomorrow's Harvest will be released on June 11 via their long time home, Warp Records. Musically, the album is somehow dark yet positive, with atmospheric dissonance and mind-bending melodic creations.LP1
2. Reach For The Dead
3. White Cyclosa
4. Jacquard Causeway
6. Cold Earth
7. Transmisiones Ferox
8. Sick Times
1. Palace Posy
2. Split Your Infinities
4. Nothing Is Real
6. New Seeds
7. Come To Dust
8. Semena Mertvykh$26.99Vinyl LP - 2 LPs Sealed Buy Now
Campfire HeadphaseFor 2005's 'The Campfire Headphase', Boards of Canada took the lens flare electronics they'd made their name with and added treated guitars and bigger production values. The result is a colourful record that rolls like a VHS road movie. The twanging guitar on 'Chromakey Dreamcoat' sounds like crossing a desert highway, while 'Peacock Tail' is one of their most epic and transcendent moments, with its twinkling keys and lulling waves of synths. It's then followed up by the soaring atmospheres and big riffs of 'Dayvan Cowboy'. Penultimate track 'Tears From The Compound Eye' is a gentle balm of static and delicate ambience, as moving as any film soundtrack. A rich and immersive album to sink into, filled with beautifully realised drama.1. Into The Rainbow Vein
2. Chromakey Dreamcoat
3. Satellite Anthem Icarus
4. Peacock Tail
5. Dayvan Cowboy
6. A Moment Of Clarity
7. 84 Pontiac Dream
8. Sherbet Head
9. Oscar See Through Red Eye
11. Hey Saturday Sun
12. Constants Are Changing
13. Slow This Bird Down
14. Tears From The Compound Eye
15. Farewell Fire$25.99Vinyl LP - 2 LPs Sealed Buy Now
Geogaddi'Geogaddi' is arguably one of Boards of Canada's most intriguing works, the kind of album that you could spend hours and hours with, constantly unpicking more meaning from its immaculately textured depths. Released in 2002, the first thing that is clear is its darker way with mood. Still operating in a nostalgia-tinged analogue world, the textures seem to carry more weight. The heavier rhythms and hypnotically crackling samples on 'Music Is Math' and groaning voices on 'Gyroscope' are laced with something approaching menace. There are sparse, almost playful moments too though, which add to the album's beguiling quality. 'The Devil Is In The Details' is a skittering piece of electronics and barely-their voices, 'While Dawn Chorus' is all widescreen, chunky beats that sound like the sun coming up.1. Ready Lets Go
2. Music Is Math
3. Beware The Friendly Stranger
6. Sunshine Recorder
7. In The Annexe
8. Julie And Candy
9. The Smallest Weird Number
11. Energy Warning
12. The Beach At Redpoint
13. Opening The Mouth
14. Alpha And Omega
15. I Saw Drones
16. The Devil Is In The Details
17. A Is To B As B Is To C
18. Over The Horizon Radar
19. Dawn Chorus
20. Diving Station
21. You Could Feel The Sky
23. Magic Window$27.99Vinyl LP - 3 LPs Sealed Buy Now
Betrayed In The OctagonIn Betrayed In The Octagon, Boston-native Daniel Lopatin produces a unique and gripping, but nebulous brand of ambient-noise. His proclivities span the spectrum from hazy, drone-like tones and noise orchestras to heavily sequenced and layered synthesizer pieces reminiscent of nature documentaries and Boards of Canada. The integration of these two approaches gives Betrayed in the Octagon an uneasy feel, like a science fiction nightmare come to life.
-Lucas Schleicher1. Woe Is The Transgression I
2. Behind The Bank
4. Betrayed In The Octagon
5. Woe Is The Transgression II
6. Parallel Minds
7. Laser To Laser$14.99Vinyl LP - Sealed Buy Now
Part 1: John Shade, Your Fortune's MadeA transmission from Fol Chen: We sound like Prince with Amon Duul II and a children's religious revival, not to mention Hot Chip, Pink Floyd, Gwen Stefani, Pere Ubu, Danielson Famile, Scritti Politti, Boards Of Canada, The Blow, and Pulp. (Mostly). We are cryptic and joyful and we would like you to dance. Features appearances by Karin Tatoyan and Rafter, along with members of The Liars, Castanets, Let's Go Sailing.1. Believers, The - (with Fol Chen)
2. No Wedding Cake - (with Fol Chen)
3. You And Your Sister In Jericho - (with Fol Chen)
4. Idiot, The - (with Fol Chen)
5. Red Skies Over Garden City (The Ballad Of Donna Donna) - (with Fol Chen)
6. Winter, That's All - (with Fol Chen)
7. Cable TV - (with Fol Chen)
8. Please, John, You're Killing Me - (with Fol Chen)
9. Longer U Wait, The - (with Fol Chen)
10. If Tuesday Comes - (with Fol Chen)$14.99Vinyl LP - Sealed Buy Now
New WeatherWith their debut album New Weather has done something rare: they've made the sonic equivalent of visual art. Renown painter Tomory Dodge joins Sean Curley and Amber Rosino in a daring electronic instrumental album. We hear the celestial scrapings of Stockhausen, the minimalism of Kraftwerk or Stereolab, the grooves of Air and the ambient drift of Boards of Canada, even the insistent psychedelia of early Pink Floyd -- all layered masterfully into New Weather's own concoction. Based in Seattle, New Weather will be performing throughout 2013-14 in support of this album.1. Slip
2. Automatic Morning
3. Heat Death
5. Everything$23.99Vinyl LP - 2 LPs Sealed Buy Now
The Measure In MixtureClear Vinyl With White Hazel Effect
It's been an honor for Grimace Federation to continue to shift sound for nearly a decade and a half, finding themselves working alongside renowned artists, such as Aesop Rock and Circa Survive, and landing opening slots with longtime musical inspirations Tortoise and Battles. The band is currently set to drop its new EP The Measure In Mixture, via lauded hip-hop label Rhymesayers. Combining spastic krautrock beats with the grandeur of an Ennio Morricone soundtrack on a Boards of Canada sonic landscape, the album features two new tracks along with superbly badass, bass-heavy remixes from Aesop Rock. It's a must-have for crate-diggers all over the world.$18.99Clear Vinyl LP - Sealed Buy Now
More Monsters and Sprites EPRuffneck (FULL Flex) video uploaded to YouTube 12/23/2011. Over 2.6 million views in less than two weeks.
The "remix companion" to Skrillex's successful EP Scary Monsters & Nice Sprites actually features two new tracks, including the opening highlight "First of the Year," which wonderfully shifts from the cute kind of fluff Boards of Canada might appreciate to a grinding dubstep monster threatening to turn the woofers inside-out. "Ruffneck (Flex)" is a dancehall-meets-jungle slammer in that Major Lazer style, then four mixes of the previous EP's title track finish things off with the best ideas coming from remixers Phonat (bringing back the sound of IDM in its heyday) and Kaskade (turning this stuff into bleepy, blissful house music).1. "First of the Year (Equinox)"
2. "Ruffneck (Flex)"
3. "Ruffneck (FULL Flex)"
4. "Scary Monsters and Nice Sprites" (Dirtyphonics Remix)
5. "Scary Monsters and Nice Sprites" (Phonat Remix)
6. "Scary Monsters and Nice Sprites" (The Juggernaut Remix)
7. "Scary Monsters and Nice Sprites" (Kaskade Remix)$20.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Wet Leather (Awaiting Repress)Originally issued as a limited cassette on Mirror Universe Tapes, Wet Leather is fully realized with 6 bonus tracks and expanded artwork. The Slasher Film Festival Strategy has recorded countless releases over the last 17 years. Think of Wet Leather as the score to an unrealized film that channels b-movies, slasher films, horror, and of course John Carpenter. Aquarius Records speaks highly of SFFS. This guy does it way better than most. The synth sounds are thick and gristly, the melodies sinister and ominous, the tracks laced with skeletal drum machines, and sweeping epic backdrops, as far as Carpenter / Goblin worship goes, it doesn't get much better than this. For fans of Brad Fidel, John Carpenter, Death Waltz Recording Company, Boards of Canada, Sinking Body.1. Lost Time
2. Forced Entry
3. The Other Self
4. The Stalker
5. Shadow Lurker
6. Reflection of the Blade
8. Call of the Night
9. Wet Leather
10. The Hunt
11. Blackest Black
12. The Chase
14. Plastic Bags
15. Heart of Darkness
16. No One Will Ever Love You$17.99Vinyl LP - Sealed AWAITING REPRESS Buy Now
JetlagJetlag is the fourth studio release from Canadian singer, songwriter, multi-instrumentalist and producer Milosh. Milosh first came on the radar via
his critically acclaimed Plug Research releases, You Make Me Feel (2004) and Meme (2006), and gained further notoriety as the elusive vocalist
behind the 2013 release of Woman, via side project Rhye.
Jetlag picks up where Milosh last left off, capturing a revelatory life moment, holding tight to inspiration and artistic integrity along the way; the ultimate testament to true and absolute love. The album is a collaboration between Milosh and his wife Alexa Nikolas, recording unexpected
intimate moments of laughter and love together; found sounds of everything from their travels around the world together to the most private spaces
in their home. Previously living in Berlin and Thailand, Jetlag chronicles the time when the couple came together and eventually settled in Los
Angeles. The refined sound plays as the ultimate romantic and joyful soundtrack, with equal parts homage to the minimal electronic artists like
Autechre and Boards of Canada that inspired Milosh and classical and jazz elements from his formal training on cello. Further, all art and video for
the project were created by and star Milosh and Alexa, adding to the multi-dimensional experience that Jetlag brings.1. Do You Want What I Need
2. Hear In You
4. Don't Call It
6. Stakes Ain't High
7. Hold Me
8. Slow Down
10. This Time$18.99Vinyl LP - Sealed Buy Now
Dark RedDark Red is the second full-length album from Shlohmo, aka 25 year-old Los Angeles native Henry Laufer. The album is an uncanny marriage of his ever-evolving, richly textured sound with shades of 90s IDM, R&B, cassette-tape Jungle, and, in an unexpected turn, sludge metal. "It sounds like if Electric Wizard tried to make an R&B record," he says, "or Boards of Canada meets Burzum by the River Styx." Shlohmo's music thus far exists in the poles between the subtle textured tracks of 2011's Bad Vibes and the booming sinister synths and hihats of his production work and remixes (split EP with Jeremih, Banks' "Brain", remixes for Drake + The Weeknd). Dark Red utilizes Shlohmo's existing palate but also mines the noises and imperfections inherent in analog production and naturally damaged sounds. Side-stepping current trends that lean towards pristine, computer-generated production, Dark Red explores natural distortion, fuzz and noise as compositional tools, intentionally distressing sounds to echo the feeling of the icy menace and emotional charge found on early black metal tapes. The result is a deeply personal listen, Shlohmo's boldest statement yet.1. Ten Days of Falling
2. Meet Ur Maker
4. Emerge From Smoke
5. Slow Descent
11. Beams$26.99Vinyl LP - Sealed Buy Now
Parallel MemoriesMr. Mitch is one of a small group of producers who in the last few years have been re-imagining the decade-old genre of Grime. Miles Mitchell, a 26 year-old South East Londoner, started his own Gobstopper label back in 2010 after having his debut release on Butterz. Last year he started the flourishing Boxed 'Instrumental Grime' night alongside producers Slackk, Logos and Oil Gang. For Mr. Mitch, Grime has always been an experimental and progressive genre, taking elements of what came before it and pushing those boundaries to create something new. His debut album is called 'Parallel Memories' and Miles has an intriguing story that explains that title. When listening to his tracks, he sees the same vivid scenes in his head each time he replays the music, often repeated snapshots of his life in various impossible scenarios or distorted situations. This made him think What if the images I'm seeing are memories from an alternative version of me in a parallel dimension? A question which reflects his vision of Grime too, as his instrumentals are informed by a quite personal and emotive alter-life, where Grime's famous minimalism gives way to a gentle subtlety and is imbued with a very different feeling to the brash aggression associated with the genre. The album intro 'Afternoon After' is the bleary-eyed sound of the club the night before, broken down into swirling child-like synth melodies, coiling over flattened, but airy kick drums. 'The Night' follows, sounding like something Boards Of Canada might do if they came from S.E. London, its gorgeous flute melodies opening up gracefully over minimal rhythms and shifting static tones. 'Intense Faces' marks a shift in the energy to bassline, synth swoops and sharp claps, a child-like bleep tune playing out over the top. 'Don't Leave' switches the mood to one of sadness, its rising chords evolving over a repeated, slowed-down acapella. Elsewhere 'Sweet Boy Code', a collaboration with fellow Gobstopper artist Dark0, lets spacey kicks propel its gentle relaxed melodies over airy sampled vocals. The midpoint track 'Wandering Glaciers' twists Grime into what sounds like a tense piece of early electronica. Meanwhile 'Bullion' chops up a lumbering sample that sound like a marauding giant. The album finishes on 'Hot Air', with its drum pattern sounding like a slow heart beat and strange, backwards synths, it feels like a voyage around a body.This is an album that deserves to find an audience who are willing to go on a journey into new areas with Grime.LP1
1. Afternoon After
2. The Night
3. Intense Faces
4. Don't Leave
5. It Takes Hold Of You
6. Sweet Boy Code feat. Dark0
1. Wandering Glaciers
2. Feel (Don't Ask)
5. Fly Soup
6. Hot Air$24.99Vinyl LP - 2 LPs Sealed Buy Now
Late Night Tales: BADBADNOTGOOD (Unmixed)Canadian quartet BadBadNotGood take on creating the ultimate "late night" selection of tracks from their record collections.
The original trio of Matthew Tavares, Alex Sowinski and Chester Hansen formed while studying music at Toronto's Humber College (they've recently added Leland Whitty to the line-up). A shared appreciation of hip hop and instrumental covers of Gucci Mane and Earl Sweatshirt suggested a worldly outlook and reciprocated love from Tyler The Creator and Ghostface Killah, with whom they made 2015's Sour Soul. Their last album, the critically-acclaimed IV, turned heads and their collaborators continue to multiply: Snoop Dogg, Kaytranada and Kendrick Lamar among them.
"We were really excited to have the chance to put together a LateNightTales compilation, it's a great organisation. We decided to use it as a vehicle to show everyone all the amazing music we have gotten to experience by touring and meeting new people.
Every track on this comp was either shown to us by an incredible person or made by one of our friends. We also included a little cover of a song by one of our favourite current musicians, Andy Shauf. These artists, as well as many, many others, have influenced us to create, and kept our deep love of music alive. This mix will keep you company on a quiet night by yourself or with friends. You can check it out on the plane, the bus, a long walk, or any situation where you want a soundtrack for reflection and meditation."
- BADBADNOTGOOD May 2017
You can even hear little bits of BadBadNotGood through this mix, as though they are transmitting parts of themselves through the music they select. Perhaps the keys on Admas' hilariously expensive 'Anchi Bale Game', maybe, or the arrangements on Delegation's mighty Britsoul tune 'Oh Honey' or the groove from 'Vida Antiga', Erasmo Carlos' Brazilian classic. As Janis almost sang, take another little piece of my art.
This is an international effort: Velly Joonas' Estonian version of 'Feel Like Makin' Love', Kiki Gyan, Admas and Francis Bebey representing Africa (Ghana, Ethiopia and Cameroon respectively), Les Prospection from France, Scots' Boards Of Canada and fellow Canucks River Tiber and Charlotte Day Wilson.
Finally, there's the no-small-matter of the Late Night Tales cover version, in which BadBadNotGood take on Andy Shauf's 'To You' is turned into a mournful delight. while the Queen Of Siam herself, Lydia Lunch, delivers a sexual sermon involving only you, her and Jim Beam.
Badbad, indeed: so good they said it twice.LP 1
1. Boards Of Canada - Olson
2. Erasmo Carlos - Vida Antiga
3. Gene Williams - Don't Let Your Love Fade Away
4. The Chosen Few - People Make The World Go Round
5. Esther Phillips - Home Is Where the Hatred Is
6. Delegation - Oh Honey
7. Velly Joonas - KÄes on aeg
8. Stereolab - The Flower Called Nowhere
9. Kiki Gyan - Disco Dancer
10. Admas - Anchi Bale Game
1. Francis Bebey - Sanza Nocturne
2. Thundercat - For Love I Come
3. River Tiber Ft. Daniel Caesar - West
4. Charlotte Day Wilson - Work
5. The Beach Boys - Don't Talk (Put Your Head On My Shoulder)
6. Donnie & Joe Emerson - Baby
7. Les Prospections - Lido
8. Grady Tate - And I Love Her
9. Badbadnotgood - To You (Exclusive Andy Shauf cover version)
10. Steve Kuhn - The Meaning Of Love
11. Lydia Lunch - You, Me and Jim Beam (Exclusive Spoken Word Piece)$35.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
AutomatonGossamer is Evan Reiner-the producer, guitarist, synthesizer scientist and
urban-spelunking field recorder whose full-length debut Automaton dissolves
the genre-breaking electronica of Autechre and Boards of Canada into a
bottomless sea of found sound and ambient atmosphere. It's less an album than
an environment all its own, or a journey into the unexplored. And whether it's
inspiring a trip deep into the discography of Steve Reich or into California's
beautifully desolate Ansel Adams Wilderness, it's that fearless spirit of
exploration that brought Automaton to life.
Reiner grew up in the L.A. neighborhood of Eagle Rock with a father telling war
stories about seeing Black Flag and the Germs play and with a set of cousins
who'd get him started listening to hip-hop. (Especially instrumentals by
iconoclastic producers like Premier, RZA and New York's crushing DITC crew,
Reiner remembers.) As he turned 16, he was playing guitar "religiously," he says,
as well as listening intently to Slayer and Cannibal Corpse on the way to
ferocious hardcore shows on the fringes of Los Angeles.
By the time he graduated high school, he was a hardcore kid with a heavy
grounding in hip-hop who'd developed so tremendously as a guitarist that he
was practicing notoriously formidable Django Reinhardt songs for fun. The
connection might not seem obvious, but it was there nonetheless-these were
three distinct musical forms equally dedicated to passion, individual technique
and total commitment to expression.
He won admission to the prestigious Berklee School of Music in Boston, where
his first semesters in the fall of 2009 were everything he'd hoped. But the more
he studied, the clearer it became that he'd need to strike out on his own: "So
many professors would tell their students what the right thing to do was in a
creative setting," he says now. "There is no right way."
He'd once used his computer just to help with his composition homework, but
now he was restless. So he began to focus on the potential of electronic music:
"I realized it was like having every component of a band at your fingertips," he
says. "It felt free and genuine with no distractions." He'd begun to make his own
field recordings, too, capturing the sounds of Boston at sunrise and stirring
them into his beat experiments. Intense study of movie sound and foley artistry,
like pouring sand across drum cymbals or using spent shells from a gun range
for percussion, gave him a whole new vocabulary, and he found further
inspiration in artists from Ai Weiwei to Maya Duren to Stanley Kubrick to Delia
Derbyshire-people who blew open the boundaries of their own disciplines.
Then in July 2013, he began to make what would become his first full-length
album as Gossamer. He'd rent an armful of microphones and hike to the tunnels
under Pasadena's eerie Devil's Gate Dam, site of suicides and barely-thwarted
summonings in the tradition of Aleister Crowley. ("The echo is crazy," he says.)
During a month in Japan, he recorded "terrifying trains" and cicadas and the
squeals of a rusting bicycle. He'd record himself smashing trash under a bridge
in downtown L.A., or knocking rebar against rotting wood 8,000 feet above sea
level in California's Ansel Adams Wilderness Area. Then he'd come
home-whether "home" at that particular moment was his own studio, a capsule
hotel in Japan, a friend's place in Boston or a temporary space in New York-and
"make accidents happen," he says, with recorders and samplers and guitar and
(this time) a stable of analog synthesizers.
The result was Gossamer's Automaton, a precise and gentle dreamscape of
experimental electronica, where the ambient atmosphere of Gas drifts across
the fractured beats of Autechre or Boards of Canada. It starts with its own
sunrise on "Thoughtform," where birdsong melts into ghostly vocals and waves
of synthesizer, and then shifts into the haunting "Print," which transplants the
sci-fi sensibilities of Vangelis to some desolate and wild new world. His "Okuma"
is like a Tortoise song that never touches solid ground, while tracks like  and
 recall the Brian Eno of Fourth World, somehow ancient and futuristic at
once. When the crickets start chirping on closer "-;- ", it's a signal that the
day-and the journey-are both coming to an end. It's might be his first album,
but it's also a first step towards something new.
"Automaton is me," Reiner explains. "It's my process. It's a symbol of having
accepted that there is a difference between being alone and being lonely. It's a
coping mechanism for the struggle to realize and balance what I am and am not
in control of in my life. It reminds me of playing Bioshock and watching Blade
Runner at the same time while naked in the jungle on another planet. It makes
me think of watching an old home video of myself and seeing Neptune right
outside my window. The list goes on and on-I could go forever."1. Thoughtform
3. 3d Relief
5. J - Cruise
6. Off World
8. For Sleep$17.99Vinyl LP - Sealed Buy Now
Ultima II MassageTOBACCO can't have nice things.
On his third album, the Pennsylvania snake-synth-charmer deepens his approach
to aural depravity. Ultima II Massage widens a jagged swath through the dude's
own weird catalog, each disparate track damaged to the point of contributing to
some sort of greater, lurching Frankenstein-like state. "I spent a lot of time
breaking it in all the right places," says TOBACCO. "It ends up making the whole
thing breathe - sometimes gasp for air. It feels more alive." Immediately after
nishing 2010's Maniac Meat, he went to work on the beat-addled series begun
with Fucked Up Friends in 2008. There were notable breaks en route to now - a
surprising commission to remix White Zombie's "Thunder Kiss '65," a new BMSR
record (Cobra Juicy), and producing Demon Queen's Exorcise Tape with vocalist
Zackey Force Funk - but he saved the worst for last, amassing the most
misanthropic material for Ultima. To wit, SPIN dubbed early share "Lipstick
Destroyer" a "junkyard takedown of Daft Punk's beloved, pristine electro."
TOBACCO explains his modied approach: "I wanted to push each song just
enough, so that even when the album's at its wildest, it's something you can zone
out to. It feels like a denitive end to a concept I've been trying to perfect forever.
Maniac Meat was linear. This time I wanted to do a lot of di!erent things and have
them come together as one meditative piece. At least for myself."
Which, oddly enough, makes sense. This is easily TOBACCO's most diverse set to
date - his own Stereopathetic Soulmanure, but about that 1-900 hotline life:
massage parlors, plasticized sleaze, fake tans, old dial-ups to the fan clubs of
dead B-actors. Fittingly, the album's only contributor is Beck music director Brian
LeBarton who shrieks as Notrabel on the grimy freak-out "Streaker." At 17 tracks,
Ultima is stacked with beautifully perverse hits - from the sickly sticky "Eruption,"
to the wobbly demon swaggerer "Face Breakout," to the distorted punk spazz of
"Dipsmack," to the apocalyptic sepia ambience of "Spitlord." You may hear
disembodied bits of Boards of Canada, early Def Jam records, and Gary Numan,
or maybe just public-access TV and bad VHS dubs of '80s horror icks. Or the sun
exploding and everything you've ever loved melting. Again, TOBACCO was just
trying to make meditation music.
But to nd that rotted sweet spot, as always, he had to subvert his pop urges.
TOBACCO went back to the cassette decks he started o! with - analog weapons
of distortion to compliment his hissing vocoder and blown rhythms. Any moment
that felt "just right" was brutally assaulted until ugly again. All to accomplish one
end: "This might be my most purposely difcult album yet, but I promise if you let
it in, it can fuck you up."
Ultima II Massage. No happy ending.1. Streaker (ft. Notrabel)
2. Good Complexion
3. Video Warning Attempts
5. Lipstick Destroyer
6. Self Tanner
7. Face Breakout
8. Blow Your Heart
9. Beast Sting
11. Creaming for Beginners
12. Omen Classic
13. Pool City, McKnight Road
15. Father Sister Berzerker
16. The Touch from Within$22.99Colored Vinyl LP - Sealed Buy Now
A luscious, elegant, electronic work - Los Angeles Times
Hip-hop instrumentals and electronic sketches;
pristine and prim - FACT
Gorgeously haunted - Pitchfork
We seek the new because of the numbness. If you listen to enough
music, you're familiar with the feeling. Sounds get recycled so often
that they can seem like geometric configurations organized via Wav
files. Trends get time-stamped faster than a triplicate trap hi-hat.
The most rare records emerge outside of any clearly delineated orbit.
They're solitary visions that supply their own rhythm and arsenal.
Music that reverberates through heart, brain, and spine. This is Nosaj
Thing's third album, Fated.
"I just tried to escape really, and escape even what's going on in the
music world," says Nosaj Thing, the LA producer born Jason Chung. "It
just felt so suffocating in a way. I just wanted to do my own thing."
It's been six years since Nosaj Thing emerged among the vanguard of
Low End Theory-affiliated producers. His debut Drift created 31st
century tones and chromatic textures so sleek that they inspired
innumerable Soundcloud imitators.
None could match its moody iridescence, faded sadness and funky
swing. Bach collided with Boards of Canada. Spaceships came
equipped with rear view mirrors and a booming system bumping
G-Funk and warped soul. Pitchfork called it "gorgeously haunted."
Resident Advisor said it "exists in its own dimension and feeds off its
own exhaust: full of alien choirs, conquered computers, and refracting
Fated exists in this same alternate dimension, but further out. If
comparisons previously existed with other artists within the LA beat
scene, Nosaj has rendered them baseless. His second album on
Innovative Leisure (after 2013's Home) seeks celestial escape through
"The last record took out so much of me. I just wanted to go back to
simplifying and overthinking so much. It was a battle," Nosaj says.
"The soul of a song, the essence of a song-whatever you want to call
it-should be simple."
By stripping away all but what's really necessary, the sounds harness
an unusual directness. Guest appearances are rare, save for vocals
from Whoarei on "Don't Mind Me," and Chicago rap phenomenon,
Chance the Rapper. The latter gravely spits on "Cold Stares," invoking
terminal fevers, empty beds, devil's whispers, and insomniac fears.
If comparisons crop up, Fated has most in common with records like
Burial's Untrue or Dilla's Donuts. Requiems that canvass the shadowy
hinterlands between life and death, darkness and light, loneliness and
love. Eternal themes re-imagined in ingenious fashion.
"The album name came from all these coincidences that just kept on
happening to me," Nosaj says. "Specific interaction with specific
people in unexpected places. A perpetual feeling of dÉjà vu."
It's foundation rests on that intangible thing that some call fate or
primordial feeling. Numbness receding, old emotions flooding back,
un-tampered visions. Fated is what you can't explain, so it's best to
just listen.1. Sci
2. Don't Mind Me [ft. Whoarei]
5. Cold Stares [ft. Chance the Rapper]
8. Let You
13. Phase IV
14. Light #5
15. 2K$19.99Vinyl LP - Sealed Buy Now